IntroductionWelcome| 00:04 | Hi! I'm Deke McClelland.
| | 00:05 | Welcome to Photoshop Masking &
Compositing: Advanced Blending.
| | 00:11 | My detailed guide to understanding and
employing the Byzantine, but extremely
| | 00:16 | useful network of blending options in Photoshop.
| | 00:20 | I'll start by introducing
you to the core concepts.
| | 00:24 | What blending is, how the most important
options work, as well as all the shortcuts.
| | 00:30 | Then we move into the specific blend modes.
| | 00:33 | I show you not only uses for each of
the blend modes of which there are many,
| | 00:38 | but I also try to give you a sense for how
the modes work and what purpose they serve.
| | 00:43 | There's no end of possible compositing
scenarios and I want you to have a clear
| | 00:48 | sense for what you can accomplish and
how so that you're never left frustrated
| | 00:53 | or scratching your head.
| | 00:55 | I wrap things up by showing you how to
use the Luminance Exclusion slider bars
| | 01:00 | as well as the Blend If option, all
of which allow you to drop out or force
| | 01:05 | through specific luminance
levels without masking a single pixel.
| | 01:11 | Now a word of warning upfront,
Chapter 2 is all about the math.
| | 01:16 | For those of you who like and
understand basic formulas, you'll find this
| | 01:21 | immeasurably useful.
| | 01:23 | But if you don't like math, no problem,
just skip Chapter 2 entirely, don't
| | 01:29 | watch a single movie.
| | 01:30 | You won't miss a thing, I promise you.
| | 01:33 | And with that I turn you over to
what I hope to be the most comprehensive
| | 01:38 | discussion of blending ever assembled.
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1. The Power of BlendingWhen in doubt, blend| 00:00 | The most common use for blending is to
avoid masking altogether, which means
| | 00:05 | that you can get your work done more
quickly, you can oftentimes achieve better
| | 00:08 | results, and you can do so
entirely nondestructively.
| | 00:13 | For example, let's say we want to take
this tic-tac-toe doodle and we want to
| | 00:16 | express it in white
against a different background.
| | 00:18 | Now you might figure the best approach,
and it's actually a pretty simple one,
| | 00:23 | is to switch over to the Magic Wand
Tool and then go up to the Options Bar
| | 00:27 | assuming default settings, you would
turn off the Contiguous checkbox, then
| | 00:31 | click anywhere inside of a black
region which will select all the black
| | 00:35 | throughout the graphic.
| | 00:36 | Turn off that doodle layer
because we don't need it now.
| | 00:39 | Create a new layer by pressing Ctrl+Shift
+N or Command+Shift+N on the Mac, let's
| | 00:43 | go ahead and call this layer white.
| | 00:45 | And then assuming that white is your
background color, press Ctrl+Backspace or
| | 00:49 | Command+Delete on the Mac in order
to fill that selection with white.
| | 00:52 | And that's all there is to it, right.
| | 00:54 | So I'll go ahead and press Ctrl+D
or Command+D on the Mac in order to
| | 00:57 | deselect the image.
| | 00:58 | But I'm going to zoom in here to 200%,
switch over to the other image so that we
| | 01:03 | can compare it, zoom in as well.
| | 01:05 | Now let's go ahead and scroll these images.
| | 01:08 | I want you to see this region right there.
| | 01:10 | Notice the detail that we have.
| | 01:12 | It looks great inside the
final version of the composition.
| | 01:16 | And inside the version we've created
so far, it looks pretty darn choppy.
| | 01:19 | Thanks to the limitations of
working with the Magic Wand.
| | 01:22 | Here's the better approach, one
that doesn't require masking at all,
| | 01:26 | it's entirely blending.
| | 01:28 | I'll go ahead and zoom out from the
image once again, turn off that new white
| | 01:31 | layer I just created, turn on the
doodle layer, click on it to make it active,
| | 01:35 | and then press Ctrl+I or Command+I
on the Mac in order to invert it.
| | 01:40 | Now all we need to do is drop out the
blacks and keep the whites using a Blend Mode.
| | 01:45 | And the Blend Mode that we
would use in this case is Screen.
| | 01:49 | So I'll go ahead and choose Screen from
the Blend Mode pop-up menu and we end up
| | 01:53 | achieving this result here;
| | 01:54 | entirely nondestructively as I say
because I haven't had to modify a single
| | 01:59 | pixel inside the original layer.
| | 02:01 | Now you might say, well,
you did have to invert it.
| | 02:03 | But as you may recall, inverting is
entirely a nondestructive operation
| | 02:08 | because I can re-invert that layer anytime I
like it in order to return back to the original.
| | 02:13 | And that simply put is the power of blending
as a compositing tool here inside Photoshop.
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| Where to find blending options| 00:00 | In this exercise, I'll give you a
sense of where you can find the blending
| | 00:03 | options inside Photoshop.
| | 00:04 | Specifically I'm talking about the
Opacity value and at least 27 out of a
| | 00:09 | potential 31 blend modes
that are offered by the program.
| | 00:13 | Now the blending options are fairly ubiquitous.
| | 00:15 | We'll just be seeing a few examples.
| | 00:17 | Specifically, I'll show you how
to blend using the Gradient Tool.
| | 00:20 | This is a destructive modification
which means you will rewrite the pixels
| | 00:24 | in the active layer.
| | 00:25 | We'll also blend with the Brush Tool,
another destructive modification.
| | 00:30 | And finally, we'll blend
from the Layers Panel which is
| | 00:33 | altogether nondestructive.
| | 00:35 | But this is just the tip of the iceberg.
| | 00:37 | You'll also find blending options when
working with other tools, specifically
| | 00:41 | the Clone Stamp Tool and the History
Brush, but you'll find subsets of the
| | 00:45 | blending options when working with the
Healing Brush, the Smudge Tool, and many others.
| | 00:50 | We've got the Fill and Stroke commands
which are both available under the Edit menu.
| | 00:54 | These options that we're seeing so far
down here in the bottom right corner of
| | 00:58 | the screen, these are destructive modifications.
| | 01:00 | However, if you blend using layer
effects, that's absolutely nondestructive.
| | 01:05 | And then we've got the Calculations
and Apply Image commands both available
| | 01:08 | under the Image menu.
| | 01:10 | We'll see a lot of them when we're creating
complex masks in other courses in this series.
| | 01:14 | And frankly, these are just the
features that I can remember off the top of my
| | 01:18 | head, there are probably many more.
| | 01:21 | So let's get started here.
| | 01:22 | I'm going to go ahead and hide those overlays.
| | 01:24 | Notice that I have the spheres layer
selected here inside the Layers Panel.
| | 01:28 | I don't want to affect this red
ball in the center here, I just want to
| | 01:31 | affect the white ones.
| | 01:33 | So I've already got this Layer
Mask that I've created in advance.
| | 01:36 | I'm going to Ctrl+Click on it or Command
+Click on that Layer Mask thumbnail in
| | 01:40 | order to load the selection.
| | 01:41 | Then I'll go up to the Select menu and
choose the Inverse command so that I've
| | 01:45 | selected the white balls in the background.
| | 01:48 | Now I'm going to switch to the Gradient
Tool which you can get by pressing the
| | 01:50 | G key and I'm going to switch my
Gradient to this guy right here, one that I
| | 01:55 | never use, I have to admit, Red, Green, but
it's very handy, up here in the Options Bar.
| | 02:00 | Otherwise my settings are set to
their defaults, I'll be creating a Linear
| | 02:04 | Gradient, the Reverse checkbox is
turned off, the others are turned on.
| | 02:08 | Here are our blending options by the way.
| | 02:11 | I could modify my Opacity value if I wanted to.
| | 02:13 | However, what I'm going to do is
change the Blend Mode from Normal to this
| | 02:18 | guy down here, Color.
| | 02:19 | We'll be discussing how every one of
these blend modes works by the way.
| | 02:24 | Right now I'm just showing
you one possible application.
| | 02:26 | And I'm going to drag from the bottom of
the image up to the top, like so, while
| | 02:29 | pressing the Shift key to create a
vertical gradient as you see here.
| | 02:33 | Alright, now let's
switch over to the Brush Tool.
| | 02:36 | I'll go ahead and click on
it or I could press the B key.
| | 02:38 | And then I'm going to right-click inside of
the Image Window to bring up the Brush Panel.
| | 02:43 | Notice that I've expanded it a little bit.
| | 02:45 | So I can get to this custom
brush, Scattered Maple Leaves.
| | 02:48 | And now I'm going to increase my Size
value to 200 pixels and press the Enter
| | 02:52 | key couple of times, the Return key
a couple times on the Mac in order to
| | 02:55 | accept that change.
| | 02:56 | Let's go ahead and dial-in a shade of
green, I'm going to change my Hue value to
| | 03:00 | 90 degrees, my Saturation to a 100,
and my Brightness value to 50%.
| | 03:05 | And now notice if I were to just start
painting inside the Image Window, I would
| | 03:09 | paint a series of Opaque Leaves.
| | 03:10 | That's not what I'm looking for, so
I'll press Ctrl+Z, Command+Z on the Mac.
| | 03:15 | When you're working with any of the
painting or editing tools, you can
| | 03:18 | change your blending options from the
Options Bar just as you can with the Gradient Tool.
| | 03:22 | I'm going to switch my Mode from Normal
to Multiply so that I'm burning in the
| | 03:26 | leaves and then I'll go ahead and paint them in.
| | 03:28 | Once again, notice that I get this
interaction between the leaves and the
| | 03:32 | bulbs in the background.
| | 03:34 | Finally, I'm going to go ahead and
turn on this texture layer right there.
| | 03:37 | Notice that this marble texture
exists entirely inside the red ball.
| | 03:41 | Press the M key to switch back to my
Rectangular Marquee Tool and press Ctrl+D
| | 03:45 | or Command+D on the Mac to deselect the image.
| | 03:48 | And now let's go ahead and merge that
texture into the spheres layer below by
| | 03:53 | clicking on the texture layer to make
it active, and then switching the Blend
| | 03:57 | Mode in this case from Normal to Linear
Burn which gives us this nice darkening effect.
| | 04:03 | And those, friends, are just a few of
the places that you can apply blending
| | 04:06 | options here inside Photoshop.
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| 27 blend modes, 6 groups| 00:00 | In this exercise, I'll introduce you
to the 27 common blend modes that are
| | 00:04 | found inside Photoshop.
| | 00:05 | These are the modes that you see when
applying layer effects, when working with
| | 00:09 | the Brush Tool, the Gradient Tool,
and so forth, when applying the Fill
| | 00:12 | command, the Stroke command, and most
commonly, when working inside the Layers
| | 00:16 | panel, which is why I'll be framing my
discussion for now in terms of working with layers.
| | 00:21 | And as you may know, every single one
of the blend modes produces a unique
| | 00:25 | effect, a unique interaction
between different layers, for example.
| | 00:29 | But it's rarely evident what
those interactions are going to be.
| | 00:32 | For example, what does the Overlay mode do,
what does Soft Light even mean, and so forth?
| | 00:38 | Well, we'll be discussing each and
every mode in more detail in a future
| | 00:41 | chapter, but for now, I want you to
notice how the modes are actually combined
| | 00:46 | into six different groups.
| | 00:48 | And that tells you that each of the modes
inside the groups is related to each other.
| | 00:52 | So let's take a look at how those groups work.
| | 00:55 | I have opened an image called The 27 blend
modes.psd found inside the 01_intro folder.
| | 01:01 | Let's start off by taking a look at the
Normal modes which include Normal and Dissolve.
| | 01:05 | Now Normal, strictly
speaking, is not a blend mode.
| | 01:08 | In fact, it turns the blend mode off
so that we're creating an interaction
| | 01:12 | between layers, for example,
exclusively using the Opacity values.
| | 01:17 | Dissolve is a lot like the Normal mode.
| | 01:20 | It doesn't create any
specific interaction between pixels.
| | 01:23 | Instead, it goes ahead and applies a
dither pattern to the translucent areas, so
| | 01:28 | you get noise around the edges of the
soft image, for example, and we'll see
| | 01:32 | what that looks like in the very next chapter.
| | 01:34 | Next we have the Darken modes and
when you chose a Darken mode, you use the
| | 01:38 | active layer to darken the layers below
it as if that layer is casting a shadow.
| | 01:43 | Now I'll be devoting an entire
chapter to this group of modes.
| | 01:47 | But in the meantime, it's often
useful to think of these modes as burning
| | 01:51 | colors in, just as when you burn a piece of
toast, for example, you end up darkening it.
| | 01:57 | Next we have the Lighten modes which use
the active layer to brighten the layers
| | 02:00 | below as if creating a glow.
| | 02:02 | Each of these modes has an opposing mode
as paired sequentially in a Darken group.
| | 02:07 | So what I mean by that, for example, is
that the Lighten mode is effectively the
| | 02:11 | opposite of the Darken mode, whereas
Screen is effectively the opposite of
| | 02:16 | Multiply, Color Dodge is the opposite
of Color Burn, and so on down the list.
| | 02:22 | The next group is the largest one.
| | 02:24 | We've got seven Contrast modes in all,
all the way from Overlay down to Hard Mix.
| | 02:29 | And in the case of these modes, the dark
pixels in the active layers burn in the
| | 02:33 | shadows, so they darken those shadows.
| | 02:36 | The light pixels boost the highlights.
| | 02:38 | So in other words, we're darkening the
darkest pixels, lightening the lightest
| | 02:41 | pixels, and the result is an elevation
in the contrast of the composite image.
| | 02:46 | Once again, I'll be devoting an
entire chapter to this group of modes.
| | 02:50 | The next group is a little bit of a muddle.
| | 02:52 | It's kind of a two groups in one.
| | 02:54 | First we have the Difference and
Exclusion modes, which are the so-called
| | 02:58 | Inversion modes because they use the
active layer to invert those below.
| | 03:02 | Similar pixels, that is, a pixel in the
active layer that's very similar to the
| | 03:07 | pixel directly below it becomes black in
the case of the Difference mode or gray
| | 03:12 | in the case of the Exclusion mode.
| | 03:15 | Subtract and Divide are the
Cancellation modes and they cancel pixels by
| | 03:19 | clipping them to black in the case of
the Subtract mode, or white in the case
| | 03:23 | of the Divide mode.
| | 03:25 | These guys are a little unusual,
a little bit complicated as well.
| | 03:28 | They can be pretty useful, however, and
once again, I'll show you how they work
| | 03:32 | in a future chapter.
| | 03:34 | Finally, we have the
Component or so-called HSL modes.
| | 03:37 | A pixel that is the color of the pixel,
can be expressed as a combination of the
| | 03:42 | primary component's Hue,
Saturation, and Luminosity.
| | 03:46 | Now Color is a combination of
Hue and Saturation mixed together.
| | 03:51 | And I mentioned that because if you
look at the modes, we have Hue and
| | 03:54 | Saturation and then
Luminosity down here at the bottom.
| | 03:57 | Color, as I say, is a
combination of the two above it.
| | 04:01 | These final modes, that is, Hue all
the way down through Luminosity mix the
| | 04:05 | primaries independently in
order to achieve different effects.
| | 04:09 | So I know that's an awful lot of
information to take in, in one movie.
| | 04:12 | But for now here's where I want you to remember.
| | 04:15 | We've got 27 common blend modes in
all organized into a total of six groups
| | 04:20 | here inside Photoshop.
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| Opacity vs. Fill Opacity| 00:00 | In this exercise, I'll explain the
difference between the two numerical blending
| | 00:04 | options here inside the Layers panel,
the first of which goes by the name
| | 00:07 | Opacity and the second of which is
called Fill, short for Fill Opacity.
| | 00:12 | I'm working inside a file called Sample
type.psd found inside the 01_intro folder.
| | 00:17 | And notice that we have two identical
words set in the font Myriad Pro, both of
| | 00:21 | which are located on independent layers.
| | 00:23 | I'm going to start things off by making
the top layer active, then I'll click on
| | 00:27 | the word Opacity in order to highlight
its value there in the Layers panel, and
| | 00:31 | I'll change the value to 25%.
| | 00:34 | Then I'll click on Sample #2 in order
to make it active, click on the Fill this
| | 00:38 | time in order to make its
value active, and change it to 25%.
| | 00:43 | And you'll notice that both effects
are absolutely identical to each other.
| | 00:48 | And that thrills a lot of people
because after all, why have two values that
| | 00:52 | serve exactly the same purpose.
| | 00:54 | Well, the problem with the demonstration
so far is that all we have to work with
| | 00:59 | is Fill that is the pixels inside of the layer.
| | 01:02 | And both Opacity and Fill affect those
pixels at least where the Normal and most
| | 01:07 | of the other blend modes are
concerned in exactly the same way.
| | 01:10 | Where they start to become different than
each other is when we have layer effects.
| | 01:15 | So I'm going to go up to the File menu
and choose the Revert command or press
| | 01:19 | the F12 key in order to restore
the original version of the image.
| | 01:23 | Notice that both of these layers
have layer effects associated with them.
| | 01:26 | I'll go ahead and turn those layer
effects on like so and then I'll select the
| | 01:30 | top text layer, click on Opacity, and
once again change that value to 25%, and
| | 01:36 | notice that the interior of the type as
well as the layer effects fade in kind.
| | 01:41 | Compare that to what happens when I
select the second text layer, click on its
| | 01:45 | Fill value and change it to 25%.
| | 01:48 | And notice this time we reduced the
Opacity of the letters that is the white
| | 01:52 | inside of the letters, but the layer
effects remain as opaque as they ever were.
| | 01:57 | And where this becomes really useful is
when you take that Fill value and reduce
| | 02:01 | it all the way down to 0% which is when
you have layer effect and nothing more.
| | 02:06 | So the letters themselves entirely
disappear and as a result, they appear to be
| | 02:11 | embossed into that background.
| | 02:13 | Now a few things you should
know about modifying these values.
| | 02:16 | If I click on the top text layer, as
we've seen, you can change the value by
| | 02:20 | clicking on it and then entering another value.
| | 02:22 | You can also click on this right-
pointing arrowhead to bring up a little slider
| | 02:26 | bar like so, or if you want to, you can
scrub directly on the value in order to
| | 02:31 | change it on the fly.
| | 02:33 | If you want to change the value in
larger increments, specifically increments of
| | 02:36 | 10, then you press the Shift key while
scrubbing on that value and each pixels
| | 02:41 | worth of scrub at this point
will result in a 10% variation.
| | 02:46 | And then, finally assuming that any
tool in the toolbox except for this second
| | 02:51 | group of tools right here, the Paint and
Edit Tools, anything else including the
| | 02:55 | Selection Tools or the Pen Tool all the
way down to the Zoom Tool in the latter
| | 02:59 | half of the toolbox, when any of those
tools is selected, you can just press a
| | 03:03 | number key on the keyboard.
| | 03:05 | So for example, if you press the 1
key, you'll reduce the Opacity to 10%.
| | 03:10 | If you press 2, you'll get 20%, 3
for 30%, all the way up to 0 for 100%.
| | 03:15 | If you press two keys in order such as
4, 5, then you'll end up changing the
| | 03:21 | value to in this case 45% and so forth.
| | 03:25 | The lowest you can go there
for is 0, 1 for 1% opacity.
| | 03:30 | If you want 0% opacity, you're going
to have to either scrub it down or enter
| | 03:35 | that value and so on. All right!
| | 03:36 | I'm going to press the 0 key in order
to restore an Opacity value of 100%.
| | 03:40 | The same goes for the Fill value incidentally.
| | 03:44 | So if I click on that second type layer,
then I can go ahead and for example,
| | 03:49 | scrub that value upward or I could press the
Shift key and scrub it all the way up to 100%.
| | 03:55 | If you want to change the value on the
fly when any tool but that second group
| | 03:59 | of tools is selected, then you
press Shift along with a number key.
| | 04:03 | So for example, Shift+1 changes the
Fill value to 10%, Shift+2 for 20%, Shift+3
| | 04:09 | for 30%, all the way up to Shift+0 for 100%.
| | 04:13 | And if you have the Shift key down
while typing two numbers in a row, for
| | 04:16 | example, I'll type Shift+6+7.
| | 04:19 | Then I'll change that Fill value to 67%.
| | 04:22 | Therefore, once again the lowest you can
go is Shift+0+1 for a Fill value of 1%.
| | 04:27 | If you want to go lower than that all
the way down to 0%, for example, then you
| | 04:31 | have to scrub that value all the way down.
| | 04:34 | And that's how you work with the
Opacity and Fill values here inside
| | 04:38 | Photoshop's Layers panel.
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| The "Fill Opacity Eight"| 00:00 | Now the primary purpose of the Fill
value is exactly what I showed you in the
| | 00:03 | previous exercise that is it allows
you to modify the opacity of the layer
| | 00:08 | itself independently of layer effects
and other specialized layer functions.
| | 00:13 | However, out of the 27 common
blend modes, eight of them are affected
| | 00:17 | differently by the Fill value than
they are by the Opacity value and frankly,
| | 00:22 | between you and me, they are better
affected by fill and I call these the
| | 00:26 | Fill Opacity Eight.
| | 00:28 | Now I haven't demonstrated how these
modes work yet, however, when we get to our
| | 00:31 | specific blend mode discussions in
subsequent chapters, it will be important
| | 00:35 | that you're familiar with this information.
| | 00:38 | So, the Fill Opacity Eight include inside the
Darken group, both Color Burn and Linear Burn.
| | 00:44 | Inside the Lighten group, we have
Color Dodge and Linear Dodge (Add) that's
| | 00:49 | actually the name of the blend mode.
| | 00:51 | In the Contrast group, we've got three of them;
| | 00:54 | we've got Vivid Light, Linear Light
and Hard Mix and then finally, in the
| | 00:58 | Inversion group, we have the Difference mode.
| | 01:00 | So just so that you have a sense of
what's going on here, I'll demonstrate a
| | 01:04 | few of these modes.
| | 01:05 | I am working inside a document
called Fill Opacity Eight.psd found inside
| | 01:09 | the 01_intro folder.
| | 01:10 | I am going to go ahead and
turn off the top three layers.
| | 01:13 | Notice that that the Assyrian layer
is selected inside the Layers panel.
| | 01:17 | Then I'll go up to the Image menu and
create a copy of the image by choosing
| | 01:20 | the Duplicate command and I'll call this
duplicated image Standard Opacity and click OK.
| | 01:25 | All right!
| | 01:26 | Now I want to display the
two images side-by-side.
| | 01:29 | So with this new image selected, I'll
go up to the Arrange Documents icon, up
| | 01:34 | here in the Applications bar, click on
it and choose the vertical 2 Up option.
| | 01:38 | And because the Standard Opacity
window was active, it now appears on
| | 01:42 | the left-hand side. All right!
| | 01:44 | I'll now press Shift along with the
Spacebar so I can scroll both of the images
| | 01:48 | at the same time like so.
| | 01:49 | Now the most obvious of the Fill
Opacity blend modes, is Hard Mix.
| | 01:53 | So again with that Assyrian layer
selected, I'll go up to the Blend Mode pop-up
| | 01:57 | menu and change it from Normal to
Hard Mix and we end up getting this just
| | 02:03 | absolutely hideous effect here.
| | 02:04 | We are just left with eight colors,
nothing more, by which I mean black, white,
| | 02:08 | we also have red, green and blue as
well as cyan, magenta, and yellow.
| | 02:13 | Every single pixel is one of those
eight colors and that's all we have left.
| | 02:17 | So we've got this
terrific degree of posterization.
| | 02:20 | You might figure well, maybe we can
tone the effect down a little bit by
| | 02:24 | reducing the Opacity value.
| | 02:25 | So I'll press the 5 key to reduce the
Opacity to 50% and we end up getting a
| | 02:30 | 50/50 mix of the effect we saw just a
moment ago along with the background image
| | 02:35 | which, by the way, looks like that.
| | 02:37 | So the result is a pretty
poor effect in my opinion.
| | 02:40 | Let's compare that to the exact same
blend mode set to a Fill Opacity value.
| | 02:44 | So I'll go ahead and click into right-
hand image, change the Blend Mode from
| | 02:48 | Normal to Hard Mix once again and then
this time, I'll press Shift+5 to reduce
| | 02:53 | the Fill Opacity to 50% and we get
an entirely different effect with much
| | 02:59 | smoother, more organic transitions. All right!
| | 03:02 | Let's take a look at a few others.
| | 03:03 | I am going to click in the left hand
image once again, change the Blend Mode
| | 03:06 | from Hard Mix to Color Burn,
which is one of the Darken modes.
| | 03:10 | We end up getting this dim grim effect on left.
| | 03:13 | Click in the right-hand image, change
it this time to the Color Burn mode as
| | 03:17 | well and thanks to the fact that
it's the Fill value that's set to 50% as
| | 03:22 | opposed to the Opacity value, we end up
getting what is still a very dim effect,
| | 03:26 | but a better result. All right!
| | 03:28 | Now I'll click in the left-hand image.
| | 03:30 | Let's see Color Burn's opposite which
is the middle mode in the Lighten group,
| | 03:33 | Color Dodge, and then I'll click in
that right-hand image and change it from
| | 03:37 | Color Burn to Color Dodge as well.
| | 03:40 | Now this time, the two effects are
little more similar than what we've seen in
| | 03:43 | the past, but notice over here on
the left-hand side, we have a series of
| | 03:47 | posterization, that is the sort of flat
light grays that are going on here, in
| | 03:52 | the cheek and along the nose,
whereas that same region over here in the
| | 03:56 | right-hand image provides
us with a lot more detail.
| | 04:00 | Just one more effect, I am going to
click in the left-hand image once again.
| | 04:03 | Let's change the Blend Mode this time
to the first of the Inversion modes,
| | 04:07 | which is Difference and notice that we
do indeed invert certain details of the
| | 04:11 | image particularly, those portions of the
image that lie in the shadow region of the carving.
| | 04:17 | Compare that to, if I go ahead and
click in right-hand image and change its
| | 04:21 | Blend Mode from Color Dodge to
Difference, this time we get what appears to be
| | 04:25 | an entirely different blend mode and
yet, the only difference because we're
| | 04:30 | still working with the Difference mode
is that the Fill Opacity as opposed to
| | 04:33 | the Opacity value is set to 50%.
| | 04:36 | So hopefully, that gives you
a sense of what's going on.
| | 04:39 | I don't expect you to remember
which modes are part of the Fill Opacity
| | 04:42 | Eight and which aren't.
| | 04:44 | However, I do want you to know that
if you end up applying a blend mode and
| | 04:48 | you get too heightened of an effect,
it's entirely possible that you can rein
| | 04:52 | it back more successfully using Fill as
opposed to Opacity here inside the Layers panel.
| | Collapse this transcript |
| Blending adjustment layers| 00:00 | Another basic concept of blending in
Photoshop has to do with adjustment layers.
| | 00:04 | The idea is that in addition to
using an adjustment layer to modify the
| | 00:08 | luminance or color of an image, you
can blend that adjustment layer which has
| | 00:12 | the effect of blending the entire
image or composition with itself.
| | 00:17 | Consider this photograph.
| | 00:18 | It's called Friends on chairs.jpg,
found inside the 01_intro folder;
| | 00:22 | great energy, wonderful composition as
well, but the image is a little washed out.
| | 00:27 | Now there is an old
technique that goes like this.
| | 00:29 | You start with your background item
here inside the Layers panel and then you
| | 00:33 | press Ctrl+Alt+J or Command+Option+J on
the Mac to bring up the New Layer dialog box.
| | 00:38 | Let's call this layer copy, click OK
and now we have two copies of the image.
| | 00:43 | Now if we were to assign a blend mode
to that copy, we would effectively blend
| | 00:48 | the image with itself and in our
case, we need to darken up the image.
| | 00:51 | So the most obvious example as you'll
learn once we get into the Darken modes,
| | 00:56 | is Multiply which is the when-in-
doubt darkening mode inside Photoshop.
| | 01:00 | Notice that we end up producing this
effect here, which is absolutely great.
| | 01:04 | We are keeping the detail inside of the
shadows, we're darkening up the midtones
| | 01:08 | quite nicely and we're doing so
without losing any of the highlights.
| | 01:12 | However, here's the problem.
| | 01:14 | Take a look at these values down here
in the lower-left region of the window.
| | 01:18 | You'll see that the original document
size, the value before the slash was
| | 01:22 | 6.52 megabytes and the value after the
slash is 13 megabytes, it's that second
| | 01:28 | value that's the problem.
| | 01:29 | The second value, the one after the
slash shows you how big the image is with
| | 01:33 | all of its layers and so by virtue of
the fact that we created this copy layer,
| | 01:38 | we effectively doubled
the size of the composition.
| | 01:41 | We just don't have to do that.
| | 01:42 | So what I am going to do is press the
Backspace key or the Delete key on the Mac
| | 01:45 | in order to get rid of that copy and
instead, we're going to do the exact same
| | 01:49 | work with an adjustment layer.
| | 01:51 | So I'll go ahead and press the Alt key
or the Option key on the Mac, drop down
| | 01:54 | to the black-white icon at the
bottom of the Layers panel and choose
| | 01:58 | Brightness/Contrast.
| | 01:59 | Now really, you can choose anything
from Brightness/Contrast down to Channel
| | 02:03 | Mixer as long as you don't
modify any of the settings.
| | 02:06 | I tend to work with Brightness/Contrast,
however, just because it's an obvious way to go.
| | 02:11 | And because I had the Alt or Option key
down that brings up the New Layer dialog
| | 02:14 | box and I'll go ahead and call this
layer dummy and then I'll click OK and that
| | 02:19 | tells me that it's just an empty dummy
layer, in other words, I haven't modified
| | 02:23 | any of the settings, although I
could later on if I wanted to.
| | 02:26 | Now I am going to double-click to
the right of the word Masks in order to
| | 02:29 | collapse the Adjustments panel and I'm
going to change the Blend Mode of that
| | 02:33 | adjustment layer to Multiply, and
we'll get exactly the same effect.
| | 02:37 | Now you might look at that and say well,
that doesn't really make any sense,
| | 02:40 | why does it happen?
| | 02:41 | Why does applying a blend mode
to emptiness give you anything?
| | 02:44 | Well, the way Photoshop figures it
is when you apply a blend mode to an
| | 02:47 | adjustment layer, you're applying that
blend mode to the overall composite image.
| | 02:52 | So in this case, we're multiplying the
original photograph by itself and as a
| | 02:57 | result, we get the exact same effect
we got a moment ago, except that if you
| | 03:00 | drop down to these values, into the
bottom-left corner of the window, you'll see
| | 03:03 | that the first value is as before 6.
52 megabytes and the second value which
| | 03:09 | represents the size of the image
with layers is also 6.52 megabytes.
| | 03:14 | So we created a file that's going to
be smaller in memory, more efficient and
| | 03:18 | smaller in terms of file size as well.
| | 03:20 | I'll give you another example here.
| | 03:22 | I have this image called Low
contrast butterfly.jpg, again found inside
| | 03:26 | that 01_intro folder.
| | 03:28 | I'll go ahead and once again press the
Alt key or the Option key on the Mac,
| | 03:31 | click the black-white icon, choose
Brightness/Contrast, as I say it's my go-to
| | 03:35 | adjustment for this kind of thing.
| | 03:37 | Then I'll enter dummy as the layer
name, click OK, go ahead and collapse
| | 03:41 | the Adjustments panel.
| | 03:42 | Whenever you see a washed out image,
Multiply is a great place to start.
| | 03:46 | So I'll go ahead and click on the Blend
Mode pop-up menu and choose Multiply in
| | 03:50 | order to darken up that image.
| | 03:52 | The problem is this time around, we
are ending up with a pretty dark image
| | 03:56 | and it seems to me that we're losing some
of the spark associated with the highlights.
| | 04:00 | So now if I were concerned the image
is darkening up too much and I wanted to
| | 04:04 | brighten it overall, then I could switch
to the best of the Lighten modes, which
| | 04:08 | is Screen, however that ends up
giving us a very washed out effect indeed.
| | 04:12 | What we need is a heightened contrast
effect, so I'll go ahead and click in the
| | 04:16 | pop-up menu once again.
| | 04:17 | This time I'll choose the foremost
contrast mode which happens to be Overlay and
| | 04:23 | we end up achieving this wonderful
effect again without increasing the size of
| | 04:27 | the file as you can see down here in
the lower-left corner of the window.
| | 04:31 | So this is the before version of the
image and this is the after version;
| | 04:35 | thanks to your ability to blend an
entire image or composition with itself
| | 04:40 | using adjustment layers.
| | Collapse this transcript |
| Blend mode shortcuts| 00:00 | Now of the amazing things about Blend
modes is that just about every single one
| | 00:05 | of them, 23 out of the 27 modes,
include keyboard shortcuts and there are even
| | 00:10 | some shortcuts for some modes I
haven't told you about so far.
| | 00:14 | So in this exercise, we'll
walk through all those shortcuts.
| | 00:17 | If you're not all that
interested in shortcuts, great!
| | 00:19 | Go ahead and skip to the next chapter.
| | 00:21 | If you like shortcuts, however, go
ahead and open up the file called Blend mode
| | 00:24 | shortcuts.psd, it's found
inside the 01_intro folder.
| | 00:29 | Notice right off the bat here;
| | 00:30 | we have shortcuts for switching to the
next Blend mode or the previous Blend mode.
| | 00:35 | So pressing Shift++ will advance get
you to the next mode in the list, pressing
| | 00:39 | Shift+- will take you to the previous
mode and let me show you how that works.
| | 00:43 | If I go ahead and click, let's say, on
this highlights layer which is currently
| | 00:47 | set to Multiply mode, if I press Shift
++, I'll advance to the Color Burn mode,
| | 00:52 | which is next in the list.
| | 00:53 | If I press Shift+-, I'll
return to Multiply mode.
| | 00:56 | That happens, by the way, because I
have one of the selection tools active and
| | 01:01 | that's how it works when any of the
tools except for this second group of Paint
| | 01:05 | and Edit tools is selected.
| | 01:06 | If one of those tools is active, for
example, if I switch to the Brush Tool,
| | 01:11 | notice that the mode up here in
the Options bar is set to Normal.
| | 01:13 | If I press Shift++, I'll advance to
Dissolve, if I press Shift+-, I'll return
| | 01:18 | to the Normal mode.
| | 01:20 | So just bear in mind that's how it works.
| | 01:22 | Any time one of these Paint or Edit
tools is selected, you're going to affect
| | 01:26 | the mode assigned to that tool.
| | 01:29 | The other really important thing to
remember for those of you, who are
| | 01:32 | working on the PC, is that you can deactivate
the selected mode by pressing the Escape key.
| | 01:37 | So let's say, I go over here to the
Blend mode pop-up menu and I manually
| | 01:42 | choose the Normal mode.
| | 01:43 | It ends up being sticky as you can see
here and that can prevent you from taking
| | 01:49 | advantage of other keyboard shortcuts.
| | 01:50 | For example, at this point, if I press
the 5 key in order to reduce the Opacity
| | 01:55 | to 50%, nothing happens because
this darn Blend mode is active.
| | 01:59 | So what you have to do is press the Escape
key in order to deactivate it here on the PC.
| | 02:04 | That is only a PC problem;
| | 02:06 | you Macintosh people are just fine.
| | 02:08 | All right, I am going to press Ctrl+Z
or Command+Z on the Mac to reinstate the
| | 02:12 | original Blend mode.
| | 02:13 | Now let's take a look at the Blend
mode specific keyboard shortcuts, all of
| | 02:17 | which involve you pressing Shift+Alt
here on a PC or Shift+Option on the Mac
| | 02:23 | along with the letter key here inside the list.
| | 02:26 | And again, that's going to affect the
active layer assuming that any tool except
| | 02:31 | for a Paint or Edit Tool is selected.
| | 02:33 | If a Paint or Edit Tool is selected, you'll
end up changing the mode assigned to that tool.
| | 02:38 | Now many of the keyboard shortcuts make sense.
| | 02:42 | For example, for Normal, you just press
Shift+Alt+N or Shift+Option+N on the Mac.
| | 02:46 | That's a good one to keep in mind, by the way.
| | 02:48 | I definitely recommend you memorize it
because it's really handy to be able to
| | 02:52 | return to Normal by pressing Shift+Alt+N
or Shift+Option+N on the Mac as opposed
| | 02:56 | to manually choosing the mode from a list.
| | 02:59 | Now I should say that I don't
necessarily recommend that you memorize all
| | 03:02 | of these shortcuts.
| | 03:03 | I never have, for example, I
can't keep track of them all.
| | 03:06 | There is just no reason to, because you
won't be using most of the Blend modes
| | 03:10 | often enough to need shortcuts.
| | 03:12 | So what I've done is I've gone ahead
and circled each one of the shortcuts that
| | 03:17 | I think is worth memorizing.
| | 03:19 | And I've even gone ahead and provided
mnemonics for all of the shortcuts in the
| | 03:24 | event that they're not
obvious just to help you out.
| | 03:28 | Another obvious one, by the way, is
Shift+Alt+M or Shift+Option+M for Multiply
| | 03:32 | as well as Shift+Alt+S or
Shift+Option+S for screen.
| | 03:36 | Those are two really great
Go To modes as we'll see.
| | 03:41 | Any time you want to burn one layer
into another, Multiply is the first
| | 03:46 | and foremost way to go.
| | 03:47 | Any time you want to use a layer to
lighten the one below it, then Screen is
| | 03:52 | the best way to go.
| | 03:53 | So bear those two in mind.
| | 03:54 | Now if you want to up the effect, for
example, you want something that's darker
| | 03:59 | than Multiply and has dare I say a
little more pizzazz associated with it, then
| | 04:04 | you'll most likely skip
Color Burn and go to Linear Burn.
| | 04:07 | But its keyboard shortcut is not obvious.
| | 04:10 | Now I'll tell you, I've come up with
different ways to memorizing this over
| | 04:13 | the years, but the one that is stuck for
me is that it really has the wrong shortcut.
| | 04:18 | It has a shortcut of Shift+Alt+A or
Shift+Option+A on a Mac which should have
| | 04:22 | been assigned to Linear Dodge (
Add) which is its opposite effect.
| | 04:27 | So it ends up getting the opposite of
keyboard that it should've gotten and as I
| | 04:31 | say that is the memory
trigger that has worked for me.
| | 04:34 | Now if you are interested in upping the
Blend mode from Screen to something even
| | 04:38 | brighter, then you'll probably skip
Color Dodge down to Linear Dodge which has a
| | 04:43 | keyboard shortcut of W which doesn't
make any sense unless you think of it as
| | 04:47 | being two upside down As, A
for Add once again. All right!
| | 04:52 | I am going to go ahead and scroll down
the list to the Contrast modes and those
| | 04:56 | first three Contrast modes are extremely useful.
| | 04:59 | The one that you'll go to most often is
Overlay which has an obvious shortcut of
| | 05:04 | Shift+Alt+O or Shift+Option+O on the Mac.
| | 05:07 | Next, we have Soft Light which
is a more subtle contrast mode.
| | 05:10 | It has a keyboard shortcut of F. After
all, S is already taken by Screen, so
| | 05:15 | we've got F which is the
third letter in the word Soft.
| | 05:19 | Then next we have a Blend mode that is
kind of an upside down version of Overlay.
| | 05:23 | You'll see how it works, very useful.
| | 05:25 | It provides a little more contrast
than Overlay does and it has an obvious
| | 05:29 | keyboard shortcut of Shift+Alt+
H or Shift+Option+H on the Mac.
| | 05:33 | Now if you want the ultimate degree of
contrast, then you'll skip Vivid Light
| | 05:38 | and go all the way down to Linear Light
here which has a keyboard shortcut of J
| | 05:42 | which is a backward L, that's
all I've ever thought for it.
| | 05:46 | Unfortunately L which you would hope it
would get has been assigned to Hard Mix
| | 05:52 | which is not a Blend mode you'll use
very often, but you can think of it as
| | 05:55 | being that ultimate mode
in the fill opacity eight.
| | 05:58 | Next, we've got Difference;
| | 05:59 | very useful mode as we'll see.
| | 06:01 | It has a keyboard shortcut of E, which
is the last letter in Difference, because
| | 06:05 | D got assigned to Color Dodge.
| | 06:07 | And then finally, down here at the
end the list, notice that we have Hue,
| | 06:12 | Saturation, Color, and Luminosity.
| | 06:14 | I recommend that your member that
the keyboard shortcut for Hue is U. So
| | 06:20 | Shift+Alt+U or Shift+Option+U on the
Mac and that only figures because if you
| | 06:24 | press Ctrl+U or Command+U on a Mac,
you get the Hue/Saturation command.
| | 06:29 | Then if you want to apply Color, a
very useful mode indeed then you press
| | 06:32 | Shift+Alt+C or Shift+Option+C on a
Mac, that's pretty obvious and then
| | 06:36 | finally, Luminosity;
| | 06:37 | another great one, it's the
opposite of Color as we'll see once again.
| | 06:41 | Then you press Shift+Alt+Y or Shift+
Option+Y on a Mac and that's the last
| | 06:45 | letter in Luminosity.
| | 06:46 | Now I've also gone ahead and
included the other Shift+Alt or Shift+Option
| | 06:51 | keyboard shortcut
variations that are available to you.
| | 06:54 | They only work, however, when
specific paint or Edit tools are active,
| | 06:59 | especially the Brush Tool.
| | 07:01 | So all of these shortcuts affect the
Brush Tool and if you press Shift+Alt+P
| | 07:05 | or Shift+Option+P on the Mac then you switch
to the Airbrush Mode which is not a Blend mode;
| | 07:10 | it's just an option associated with
the Brush and some of the other tools.
| | 07:13 | And then we have two, I guess, you
would call them Blend modes, we'll see how
| | 07:17 | they work in a couple of chapters.
| | 07:19 | But we've got the Behind mode
which has a shortcut of Shift+Alt+Q or
| | 07:23 | Shift+Option+Q on a Mac, I don't know
what to tell you about that, it's the
| | 07:25 | letter after P. And then we've got the
Clear mode, which allows you to treat a
| | 07:29 | tool like an eraser and it has a
shortcut of Shift+Alt+R or Shift+Option+R which
| | 07:34 | is the last letter in Clear.
| | 07:35 | But, as you can see, I haven't
bothered to circle any of these shortcuts,
| | 07:39 | because I don't consider them to
be worth memorizing. All right!
| | 07:43 | That's it, folks.
| | 07:43 | Those are the shortcuts
that are available to you.
| | 07:46 | In the next chapter, we are going to talk
about the math behind blending inside Photoshop.
| | 07:52 | If you don't want to know about the math,
then go ahead and skip that chapter in
| | 07:56 | which case, I'll show you
how to use the Normal modes.
| | Collapse this transcript |
|
|
2. The Revelation of Blending MathThe power of standardized arithmetic| 00:00 | Now as I mentioned at the outset of the
course, this chapter is devoted to the
| | 00:04 | underlying math associated
with blending inside Photoshop.
| | 00:08 | A few of you are going to find this
information to be terribly useful, many of you are not.
| | 00:14 | If you have any hesitations whatsoever,
if you feel like the math is just going
| | 00:18 | to overwhelm you or get in your way of
understanding what's going on, then by
| | 00:22 | all means skip ahead to the next
chapter which is when we get down to the
| | 00:25 | creative business of blending inside Photoshop.
| | 00:28 | And do so knowing that skipping these
movies will not adversely affect your
| | 00:32 | understanding of this course one iota.
| | 00:35 | However, if you have a mind for math
and you feel like learning what's going on
| | 00:39 | under the hood inside Photoshop
might help you out, then stick with me.
| | 00:43 | I'm working inside this file called
Standardize arithmetic.psd and I've created
| | 00:48 | a few layer comps in advance.
| | 00:50 | I am going to go up to the Window menu
and choose the Layer Comps command and
| | 00:53 | then I am going to click the right
pointing arrow head in order to switch to the
| | 00:57 | next comp and hide that warning text.
| | 00:59 | And notice that I have the Assyrian
layer selected here inside the Layers panel.
| | 01:03 | I am going to bring up
the Blend Mode pop-up menu.
| | 01:05 | Now I want you to note that a few of
the blend modes are named after their
| | 01:10 | underlying arithmetic operators.
| | 01:12 | For example, we've got Linear Dodge (
Add) which actually does add luminance
| | 01:17 | levels to each other.
| | 01:18 | So not surprisingly, we end up
brightening the image considerably.
| | 01:23 | And if the sum of any two pixels that
is a pixel on the active layer and the
| | 01:27 | pixel directly below it on the
background layer, if that sum ends up being
| | 01:32 | anything more than 255 for white, then
it blows out, it gets clipped so we have
| | 01:37 | a ton of clipping going on inside the image.
| | 01:40 | The opposite blend mode is Subtract and
so if you choose Subtract what you end
| | 01:44 | up doing is you're subtracting the
luminance levels on the active layer from
| | 01:48 | those on the background layer and not
surprisingly, we end up getting a very
| | 01:53 | dark image and many of the
composite pixels are now clipped to black.
| | 01:57 | When things end up turning out
differently than you might expect, is when we
| | 02:01 | Multiply and Divide.
| | 02:03 | So if I choose the Multiply blend mode,
which you would naturally expect, if
| | 02:07 | we're actually multiplying luminance
levels, which we are, then you might
| | 02:11 | expect the image to become lighter,
instead it not only grows darker, but it
| | 02:16 | grows darker uniformly.
| | 02:18 | We have no clipping going on whatsoever.
| | 02:21 | The Multiply mode never clips
luminance levels unless they were already
| | 02:25 | clipped in the first place.
| | 02:26 | So in other words, there is no overly
bright whites and there is no overly dark blacks.
| | 02:31 | Next, if I switch to the opposite
mathematical operator which would be Divide,
| | 02:35 | we end up brightening the image like
crazy and once again, we are clipping
| | 02:41 | pixels all over the place.
| | 02:42 | So what in the world gives?
| | 02:44 | Well, I am going to go ahead and switch
back to the Normal mode here and bring
| | 02:48 | up that Layer Comps panel once again
and advance to this next comp, Luminance
| | 02:53 | levels and this brings us to our
first slide which explains how you might
| | 02:58 | naturally expect things
to work inside Photoshop.
| | 03:01 | So, let's imagine that as usual a
luminance level of 0 is black and a luminance
| | 03:07 | level of 255 is white.
| | 03:08 | That's how it is throughout Photoshop,
and luminance levels for the most part do
| | 03:13 | work on a channel by channel basis, by the way.
| | 03:15 | So where're we working with values
greater than 1 that is 1 all the way up to
| | 03:20 | 255, then here is how things would go.
| | 03:24 | Now you need to bear in mind that all
blend modes rely on basic arithmetic
| | 03:28 | operations that is Plus,
Minus, Times, and Divide.
| | 03:31 | They may mix and match those operations
ever once in a while, but every single
| | 03:35 | blend mode uses basic arithmetic.
| | 03:38 | When working with values greater than 1,
division usually delivers the smallest
| | 03:42 | results, meaning we would get the
darkest composite image, then subtraction,
| | 03:46 | addition and ending with
multiplication is the top dog.
| | 03:50 | So, if you were to multiply,
you'd get a very bright image.
| | 03:53 | For example, let's say we have two
pixels, one with a luminance level of 204
| | 03:57 | which would be quite bright and the other
with a level of 76 which would be very dark.
| | 04:03 | If we were to divide and let's say
the 204 pixels on the background layer,
| | 04:07 | because that's how it would work then
204 divided by 76 would give us 2.68
| | 04:13 | or very nearly black.
| | 04:14 | That would be a very, very dark composite pixel.
| | 04:17 | Subtract would give us 204 minus 76 which
equals 128, which is, by the way, medium gray.
| | 04:25 | If we were to add the pixels, we'd get
204+76 which would give us a level of
| | 04:29 | 280 and since 255 is white that's beyond
white so that pixel will be clipped to white.
| | 04:36 | Then where we'd to multiply those
luminance levels, it would be 204 times 76
| | 04:41 | which would be 15,504,
which is extremely clipped.
| | 04:46 | Well, I am here to tell you
that's not the way it works.
| | 04:49 | To see exactly how things do work, I
am going to switch to my last layer comp
| | 04:53 | and notice that it's titled working with
values between 0 and 1. Here is a deal.
| | 04:59 | Blend modes use standardized value, and
by that I mean, all the luminance levels
| | 05:03 | where blend modes are
concerned fit inside that 0 to 1 range.
| | 05:07 | So to figure out what the standardized
value is, you just take the luminance
| | 05:11 | level and divide it by 255.
| | 05:13 | So black as always is 0,
because 0 divided by anything is 0.
| | 05:17 | White would be 255 divided by 255
which is 1 and medium gray would be 128
| | 05:24 | divided by 255 which is 0.5.
| | 05:27 | Multiplication and subtraction decrease
brightness while addition and division
| | 05:32 | increase brightness.
| | 05:33 | For example, in a standardized world, the
pixel with a luminance level of 204 becomes 0.8.
| | 05:40 | The one with a level of 76 is now 0.3.
| | 05:43 | So if we multiply those two pixels, we get 0
.8 times 0.3 which is a lower number 0.24.
| | 05:50 | That translates to a luminance level of
61, which is a darker composite pixel.
| | 05:56 | If we subtract these numbers we get
0.8 minus 0.3 which is 0.5 just as
| | 06:01 | before medium gray.
| | 06:03 | So subtract works the same way as it would
where we're working with luminance levels.
| | 06:07 | Add does as well, 0.8 plus 0.3 gives
us 1.1 which translates to a luminance
| | 06:13 | level of 280, the same thing we saw
before, so it's clipped and then division
| | 06:18 | gives us 0.8 divided by 0.3 which is a
bigger number 2.67, because all these
| | 06:26 | tiny numbers fit inside this
larger number a lot more times.
| | 06:30 | That translates to a level of 261,
which is exceedingly clipped.
| | 06:35 | So as a result, Multiply darkens
uniformly, by the way, no clipping at all.
| | 06:40 | Subtract darkens and may result in clipping.
| | 06:42 | Add brightens and may result in
clipping as well and division brightens and
| | 06:47 | almost always results in clipping.
| | 06:50 | And that folks, is how the basic
arithmetic operations work where blending is
| | 06:54 | concerned here inside Photoshop.
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| Photoshop's blending formulas| 00:00 | All right, gang! Now we are going to actually
get into the underlying arithmetic formulas that
| | 00:05 | are associated with the blending
operations here inside Photoshop.
| | 00:08 | And we're going to take it pretty easy
because there's an awful lot of stuff
| | 00:12 | going on, even if you like math, by the way.
| | 00:14 | The file I have open is called Blend
mode math.psd, it's found inside the
| | 00:19 | 02_math folder and you can see that
we've got the blending functions listed over
| | 00:23 | here on the left hand side, the pixel
formulas are listed here in the middle and
| | 00:28 | then I've also provided a description
of each one of the formulas, because it's
| | 00:31 | very possible that you might look at A+
B-1 and think, all right, but I don't
| | 00:38 | have any idea what in the
world that would possibly mean.
| | 00:41 | So we'll walk through all of them here.
| | 00:43 | Now I have tried to document every one of
the blend modes, with the exception of four.
| | 00:49 | Normal and Dissolve, because they don't
use any special math, and then Lighter
| | 00:53 | Color and Darker Color which are
composite modes that are based on Lighten and
| | 00:58 | Darken respectively and
we'll see how they work later.
| | 01:01 | And then finally, despite a lot of
research, I was not able to verify the
| | 01:05 | formula for Soft Light.
| | 01:07 | None of the formulas that I found out
there actually worked the way the Soft
| | 01:10 | Light blend mode does.
| | 01:12 | Anyway, with that in mind here's what's
going on with every single one of these formulas.
| | 01:16 | They are based on the letters A and B
. A represents a pixel on the active
| | 01:21 | layer, B represents that same pixel on the
underlying layers that is to say in the background.
| | 01:28 | So A is active, B is background and
that's really all there is to that.
| | 01:33 | Notice also over here where the
descriptions are concerned, I have this
| | 01:36 | little caution icon.
| | 01:37 | Any of the blend modes that include
those caution icons may and probably will
| | 01:43 | result in some degree of clipping;
| | 01:45 | either you'll be clipping to black or to white.
| | 01:48 | Any of the blend modes that do not
include caution icons can not clip.
| | 01:53 | They will not introduce any form of
clipping, so they turn out to be the safest
| | 01:58 | and typically the most useful modes.
| | 02:01 | We'll start off here with
the basic Opacity formula.
| | 02:04 | I've re-showed you this one at the
beginning of Chapter 2 of my masking and
| | 02:08 | compositing fundamentals course,
but let's go ahead and review.
| | 02:12 | You may recall that Opacity is
represented by the Greek letter alpha which is
| | 02:17 | where the alpha channel gets its name.
| | 02:19 | And so to calculate Opacity, you
multiply that Opacity value and you would
| | 02:25 | standardize it as well.
| | 02:26 | So 100% Opacity would be 1, 0% opacity would
be 0, 50% opacity would be 0.5, and so forth.
| | 02:36 | So you multiply the active pixel by the
Opacity value and then you take 1 minus
| | 02:42 | that Opacity value, 1-a, which is
the inverse of the Opacity value.
| | 02:47 | Any time you see 1 minus anything in
these pixel formulas that means you're
| | 02:52 | finding the inverse and in this case,
we're multiplying the inverse of the
| | 02:55 | Opacity value by B that
is that background pixel.
| | 02:59 | So if the Opacity was 70% it'd be 0.7
times A and then 1-0.7 would be 0.3 for
| | 03:06 | 30% B. So it'd be 70% of the active
layer with 30% of the background layer;
| | 03:13 | pretty easy to figure that one out.
| | 03:15 | And all it is, is a percentage based pixel mix.
| | 03:18 | It's as if we are mixing a beverage, let's say;
| | 03:20 | it's 70% one ingredient and
30% of another. All right!
| | 03:23 | Now let's take a look at the
first darkening mode which is Darken.
| | 03:27 | All it does is locate the darkest pixels.
| | 03:29 | So in other words, where any single pixel
is concerned, it tries to find the minimum.
| | 03:35 | So if A is darker then A
wins and if B is darker B wins.
| | 03:39 | Whichever pixel is darker is the pixel
that you end up seeing after you blend
| | 03:44 | the images together, which means, you
end up getting a lot of harsh transitions,
| | 03:48 | not one you'll be using on a
regular basis, but still, there it is.
| | 03:52 | Multiply as I was saying totally great
mode incapable of clipping as you can see
| | 03:57 | over here, no warning.
| | 03:58 | And all it does is
multiply the two pixels together.
| | 04:01 | We saw how that worked in a previous
exercise, the product of that equation
| | 04:06 | evenly darkens the composite image.
| | 04:09 | Now I'm also including just one mode
as it relates to interacting with the
| | 04:14 | Opacity value, because I want to
give you a sense of how that works.
| | 04:18 | So let's say, we're multiplying the active
layer and we're setting it to say 70% Opacity.
| | 04:24 | In that case, we would start things off
by taking the product of the two images,
| | 04:28 | so we would multiply them together,
and then Photoshop would treat that as a
| | 04:32 | composite version of the various layers
and it would multiply alpha times that
| | 04:37 | composite and then mix it in
with 1-a of the background.
| | 04:42 | Notice there is nothing special going on here.
| | 04:44 | That (1-a)B is the same as it was when
we're working with the Normal Mode, let's say.
| | 04:51 | So as a result, we would have, in our
case, 70% of the multiplied image blended
| | 04:56 | in with 30% of the background image
and so we get a translucent product and
| | 05:01 | that's the way it works across the board.
| | 05:03 | So any time that you're mixing in
Opacity along with a blend mode, you were
| | 05:09 | multiplying the Opacity value times
the blended image and mixing it with the
| | 05:14 | opposite of the Opacity
value assigned to the background.
| | 05:18 | That gives you at least an
introductory sense of how the math works where
| | 05:21 | blending is concerned with Photoshop.
| | 05:23 | In the next exercise, I'll show you more.
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| Darken formulas vs. lighten formulas| 00:00 | In this exercise I'll show you the
formulas for the remaining Darken modes and
| | 00:04 | we'll also see the Lighten modes
and how closely they're related.
| | 00:08 | I'm still working inside that
document Blend mode math.psd.
| | 00:12 | Notice down here the Color Burn formula.
| | 00:15 | Now this becomes the first one of
what I consider to be kind of the brain
| | 00:19 | twisters, but one that's a little hard to
figure out when you see it for the first time.
| | 00:23 | Anytime, however, you see 1-
like this that means that you're
| | 00:28 | inverting something.
| | 00:29 | So in this case, we're inverting the
background image and I do truly mean inverting.
| | 00:33 | We're inverting all the luminance
levels and then we are dividing that inverted
| | 00:37 | background by the active layer which
would normally give us a very bright
| | 00:42 | effect, which is why Color Burn then
turns around and inverts the entire thing
| | 00:47 | with this 1- upfront.
| | 00:49 | So, as you can see here, we
get invert, divide, and invert.
| | 00:53 | Not surprisingly, because divide is
involved, we have a caution icon that's
| | 00:57 | telling us there is going to be some clipping.
| | 00:59 | And Color Burn is one of those
modes that almost always results in
| | 01:03 | clipping inside Photoshop.
| | 01:04 | Next, we have Linear Burn which
provides us with a simplified equation, we are
| | 01:09 | still going to get clipping out of it,
but we do get smoother results as well.
| | 01:13 | So Photoshop starts by adding the pixels
together, which would normally brighten
| | 01:18 | the heck out of the image.
| | 01:19 | Bear in mind that Linear Burn is a Darken
mode which is why we have a -1 at the end.
| | 01:26 | Any time you're
subtracting 1, you're not inverting.
| | 01:29 | Instead what you're doing is
you're taking the wind out of the sails.
| | 01:33 | So 1 is an awfully big number to
subtract where a blend mode is concerned,
| | 01:38 | because after all, if you subtract 1
from what would normally be a composite
| | 01:42 | white pixel, it's going to become black.
| | 01:44 | So you might think looking at this
equation, well, how is it that anything
| | 01:48 | survives, why doesn't the
entire composite image become black?
| | 01:51 | And the reason is that A+B often
results in numbers that are larger than 1 and
| | 01:57 | the sum may be as large as 2.
| | 01:59 | So in any case, we add the luminance
levels together and then we sink that sum
| | 02:03 | in order to create a darker image.
| | 02:05 | The next group of four modes here are
the Lighten modes, starting with Lighten
| | 02:10 | which just finds the maximum luminance
level where pixels A and B are concerned.
| | 02:14 | So whichever pixel is lighter ends
up winning on a pixel-by-pixel basis.
| | 02:19 | Next drop down to Screen and notice,
if you will, that every one of these
| | 02:25 | Lighten formulas actually
includes the Darken formula inside of it.
| | 02:29 | So right there we've got
multiply at work inside of Screen.
| | 02:35 | So we've got A+B, we go ahead and add
those pixels together which gives us a
| | 02:38 | very bright image indeed, but to avoid
any clipping because Screen never clips
| | 02:44 | luminance levels inside of Photoshop, it
goes ahead and subtracts the multiplied result.
| | 02:49 | So what's really happening here, just
to give you a sense, because this is a
| | 02:53 | simplified equation, what's really
happening here is Photoshop inverts the
| | 02:57 | background then it inverts the active
layer, it multiplies them together and
| | 03:02 | then it turns around and inverts the result.
| | 03:04 | And so what that mean is Screen is
absolutely the inverse of multiply;
| | 03:09 | it is that awesome brightening mode
that always delivers smooth results and
| | 03:13 | never clips luminance levels.
| | 03:15 | Next we have Color Dodge and notice
this time around instead of inverting the
| | 03:19 | background image, Photoshop goes ahead
and inverts the active layer and then it
| | 03:24 | divides the background by
that inverted foreground.
| | 03:28 | This time, however, because it does
not invert the result the way that Color
| | 03:32 | Burn did, we get a bright result
because you may recall from a couple of
| | 03:36 | exercises ago, division always
results in brightness inside of Photoshop.
| | 03:41 | So we are taking the background, we
are dividing it by an inverted version of
| | 03:44 | the foreground layer.
| | 03:46 | As a result, we get a very bright
image and of course, we get clipping.
| | 03:50 | And then finally, one of the simplest
equations of them all, Linear Dodge (Add),
| | 03:54 | all Photoshop does is it adds the
luminance levels across the board on a
| | 03:58 | pixel-by-pixel basis and because those
values are frequently going to add up to
| | 04:02 | more than one, we get clipping in
some portions of the composition.
| | 04:07 | So that's how the Darken and Lighten
modes work and in next exercise, we'll take
| | 04:11 | a look at the more complicated contrast modes.
| | Collapse this transcript |
| Contrast mode formulas| 00:00 | In this exercise, we're going to
take a look at the more complex contrast
| | 00:04 | formulas and you can see that I've
gone ahead and scrolled down inside this
| | 00:07 | file, Blend mode math.psd and I've
also assigned these formulas a slightly
| | 00:11 | different color scheme just
so you can tell them apart.
| | 00:14 | Almost all of the contrast modes
involve an if-then proposition.
| | 00:19 | Notice if the pixel is lighter than 50
% gray, then Photoshop does one thing;
| | 00:24 | if it's darker than 50%
gray, it does something else.
| | 00:27 | So in the case of Overlay, which is
your when-in-doubt contrast mode, Photoshop
| | 00:32 | is concerned with the
luminance of the background pixel.
| | 00:35 | So if the background pixel is light
that is its standardized value is more than
| | 00:39 | 0.5 then it goes ahead and applies
a kind of modified screen formula.
| | 00:44 | Notice we have the A+B-(A?B) just as
we do up here for screen, but we also have
| | 00:50 | this 2? multiplier which goes ahead
and brightens it and then Photoshop turns
| | 00:54 | around and sinks the
brightness by subtracting 1.
| | 00:57 | The reason it does this is because
it needs to fade that Screen effect.
| | 01:02 | Bear in mind that when you apply Overlay
or any of the other contrast modes, you
| | 01:06 | need to somehow reconcile the fact that
you're brightening the brightest pixels
| | 01:10 | and you're darkening the darkest pixels.
| | 01:12 | And you don't want there to be the
sudden transition in between which is what
| | 01:16 | you'd get if you just used
the standard Screen formula.
| | 01:19 | So in order to make sure that the
midtones drop away, so the brightest color is
| | 01:25 | still going to be very bright, the
darkest colors will still be very dark, but
| | 01:28 | anything that's a midtone on the active
layer is going to slowly fade away and
| | 01:33 | Photoshop accomplishes that with that 2
? multiplier and that -1 at the end.
| | 01:38 | Similarly, if the background pixel is
dark that is less than or equal to 0.5,
| | 01:44 | then Photoshop goes ahead and multiplies
those pixels and adds the 2? multiplier
| | 01:48 | as well in order to create the fade.
| | 01:50 | So think of it this way;
| | 01:52 | imagine that both A and B
are 0, so they're black.
| | 01:57 | Well, even if you multiply them
times 2, they are still black.
| | 02:00 | So black is always nice and black.
| | 02:02 | It's those colors as they slowly become
brighter and brighter that 2? multiplier
| | 02:08 | ensures that they brighten up so that
the midtones as I was saying, drop away so
| | 02:12 | we get a fading multiply effect.
| | 02:14 | Now you might suspect well gosh!
| | 02:16 | Doesn't it go too far at some point?
| | 02:18 | With the 2? multiplier that seems like a lot.
| | 02:20 | Imagine that A is 0.5, so it's
right there at 50% gray which turns
| | 02:25 | invisible after all.
| | 02:26 | Well, 2?0.5 gives you 1.
| | 02:29 | So it's just 1 times luminance level
of the background pixel which is why you
| | 02:34 | see the background pixel;
| | 02:35 | you do not see any of the foreground pixel.
| | 02:38 | So that's how it works.
| | 02:39 | For Soft Light, notice that I have if A
. . . Well, what that's telling us is
| | 02:44 | that we're concerned about the
brightness of the active pixel, not the
| | 02:47 | background pixels, as in
the case of the Overlay mode.
| | 02:50 | In fact, all of the other contrast
modes are concerned with the brightness
| | 02:54 | of that active pixel.
| | 02:56 | However, I don't know
what the precise formula is.
| | 03:00 | I found about ten formulas online I
should tell you and Adobe, by the way, does
| | 03:03 | not share this information.
| | 03:05 | That's why I had to go out there
and try to seek it from other folks.
| | 03:08 | But unfortunately, I conducted a
test on every single formula I found and
| | 03:12 | they just did not work.
| | 03:14 | So it's some kind of complicated formula.
| | 03:16 | It seems to be the most complicated of
the bunch, but what we know is that Soft
| | 03:20 | Light is a weak commuted overlay.
| | 03:22 | And by commuted, I mean we are
concerned about the brightness of the active
| | 03:26 | layer pixel and not the background pixel.
| | 03:28 | I'll explain more about that in a moment.
| | 03:30 | By weak, I mean that where as
Overlay treats white and black as absolute
| | 03:36 | brighteners and darkeners,
but Soft Light mode does not.
| | 03:39 | So anything that's white or black inside the
active layer will be translucent to some extent.
| | 03:46 | I do want to emphasize something.
| | 03:47 | No matter what formula actually
exists for Soft Light, it is not merely a
| | 03:52 | reduced opacity version of Overlay.
| | 03:54 | That's just not true.
| | 03:56 | It is an absolutely unique but
more subtle effect. All right!
| | 03:58 | Next, we've got Hard Light.
| | 04:01 | Notice that Hard Light uses
exactly the same equations as Overlay.
| | 04:05 | So there is our brightening equation
that same variation on Screen, there is the
| | 04:08 | darkening equation that same variation Multiply.
| | 04:11 | The only difference is that we are
concerned with a luminance of the active
| | 04:14 | layer, not the layers behind it.
| | 04:17 | And that means that Hard Light is
identical to Overlay were you to reverse the
| | 04:21 | layer order, you would
get exactly the same result.
| | 04:24 | And that is the definition of a
commuted blend mode, by the way.
| | 04:28 | So Overlay and Hard Light are commuted
versions of each other, just in case you
| | 04:33 | ever hear that bandied about. All right!
| | 04:34 | Next we have Vivid Light.
| | 04:36 | Vivid Light is again concerned with a
luminance level of the active pixel that
| | 04:40 | is the pixel on the active layer and
if that pixel is brighter then we end up
| | 04:45 | applying a variation on the Color Dodge effect.
| | 04:49 | So you may recall that Color Dodge
inverts the luminance levels on the active
| | 04:52 | layer and then divides
them by the background layer.
| | 04:56 | In the case of Vivid Light, we take 2-2A,
so it's still and version but it's two
| | 05:01 | times the inversion and then we
divide that by the background layer.
| | 05:06 | And the whole reason we have that 2?
multiplier once again is so we can get a
| | 05:10 | fading version of the Color Dodge effect.
| | 05:12 | So we still have that over-the-
top clipping, hence the warning.
| | 05:17 | However, the lightening effect and
the darkening effect come together and
| | 05:20 | fade seamlessly into each other toward the
midtones, which as always turn transparent.
| | 05:26 | So that's something to bear in mind
about all the contrast modes, 50% gray on
| | 05:30 | the active layer is always transparent.
| | 05:32 | Next, if then active pixel is darker,
why then we go ahead and take that Color
| | 05:36 | Burn equation and we double the
brightness of the pixel on the active layer and
| | 05:40 | that creates a fading Color Burn effect.
| | 05:42 | Linear Light is interesting in that
it's the only contrast mode that does not
| | 05:47 | require an if-then proposition.
| | 05:49 | What we're doing is
effectively merging the two equations.
| | 05:52 | So you may recall Linear Dodge is A+B
and then Linear Burn is A+B-1 and then we
| | 05:58 | take Linear Burn and we double the
luminance of the pixels on the active layer
| | 06:04 | and that works whether we are
working with bright pixels or dark pixels.
| | 06:07 | So it's an automatic fusion of Linear
Dodge and Linear Burn into one equation
| | 06:13 | and of course, it results in clipping.
| | 06:15 | To make sure work of things here, Pin Light
is a fusion of the Lighten and Darken modes.
| | 06:20 | So we are trying to find the max value if the
pixels are bright, but instead of A, it's 2A-1.
| | 06:27 | So it's a kind of inversion, but not quite.
| | 06:29 | And then if the pixel is dark, we're
finding the minimum of 2A or B. And
| | 06:35 | the whole reason we have the
multipliers in there is to ensure that the
| | 06:38 | midtones drop away.
| | 06:40 | So one way it's lightened with modified
midtones and the other way it's darkened
| | 06:44 | with modified midtones.
| | 06:45 | And then finally, we have
Hard Mix, which is a derivative.
| | 06:48 | What do I mean by that?
| | 06:50 | Well, Photoshop takes the result of
the Vivid Light mode and then it looks at
| | 06:56 | each one of the independent color
channels and it changes all the pixels in
| | 07:00 | those channels to either black or white
and when those channels merge together,
| | 07:05 | so we have a red channel with just
black-and-white pixels, we've got a green
| | 07:08 | channel with just black-and-white
pixels and we have a blue channel with just
| | 07:12 | black-and-white pixels and that ends up
giving us a total of eight colors in the
| | 07:16 | full color composite image.
| | 07:18 | And that, my friends, is what's going on
with the contrast modes inside Photoshop.
| | 07:22 | In the next exercise, we'll walk
through the inversion, cancellation
| | 07:26 | and component modes.
| | Collapse this transcript |
| Inversion, cancelation, and HSL| 00:00 | Let's take a look at the rest of the
formulas beginning with the one for the
| | 00:03 | first inversion mode, Difference.
| | 00:05 | Difference uses subtract.
| | 00:07 | So we're subtracting the luminance
levels of the active layer from those of the
| | 00:10 | background layer and then
we find the absolute value.
| | 00:14 | So in other words, the result is
always positive no matter what and that's
| | 00:18 | why we end up getting an inversion result is
because the numbers bounce back essentially.
| | 00:24 | The composite luminance levels end up
growing ever darker and then they bounce
| | 00:27 | back and become brighter again.
| | 00:30 | Exclusion, which is a very similar mode,
it looks a lot like difference except
| | 00:33 | it has lower saturation values, there
is a lot of graze in the composite image.
| | 00:38 | It uses a completely different
formula that's based on the screen formula.
| | 00:43 | So we're taking A+B just as we do with
screen and we're subtracting AxB which is
| | 00:48 | that multiply, but then we're
multiplying that multiply formula by 2 and that
| | 00:54 | creates another kind of bounce back.
| | 00:56 | So colors that are very different from
each other become bright and colors that
| | 01:00 | are very similar to each other
become either gray or very dark.
| | 01:04 | So the bright colors doubled back
and again, we get an inversion effect.
| | 01:10 | Now these next two modes subtract and divide,
they were introduced recently in Photoshop.
| | 01:14 | However, they were actually
already available inside the program, the
| | 01:18 | variations on existing modes.
| | 01:20 | So Subtract just goes ahead and
subtracts A from B. That's it, but it turns
| | 01:24 | that to be the same thing as inverting the
active layer and applying the Linear Burn mode.
| | 01:29 | And so as a result, it's
very likely we'll get clipping.
| | 01:32 | Divide goes ahead and divides the
luminance levels on the active layer by
| | 01:36 | those on the background and it's the
same as inverting a layer and applying
| | 01:41 | the Color Dodge mode.
| | 01:42 | So again, they're not unique modes,
but they can be useful every so often,
| | 01:46 | especially where masking is concerned.
| | 01:48 | Then we've got the component modes;
| | 01:50 | Hue, Saturation, Color, and Luminosity
and they don't really have equations.
| | 01:54 | They're just mixes of the various
primary components that are going on between
| | 01:59 | the active layer and the background layer.
| | 02:02 | So in the case of Hue, we're keeping the
Hue from the active layer and mixing it
| | 02:06 | with the saturation and the
luminance of the background layer.
| | 02:09 | In the case of Saturation, we're
keeping the saturation of the active layer and
| | 02:13 | mixing it with the hue and
the luminance of the background.
| | 02:16 | In the case of Color, we're keeping
both the hue and the saturation of the
| | 02:20 | active layer and mixing it with
the luminance of the background.
| | 02:24 | And in the case of Luminance,
we do just the opposite.
| | 02:27 | We mix the luminance of the active
layer along with the hue and saturation of
| | 02:32 | that background layer.
| | 02:33 | And that's it, folks.
| | 02:34 | That's how the underlying math works
were blending is concerned inside Photoshop.
| | 02:39 | It's a lot of stuff to know, I don't
expect you to remember these formulas, but
| | 02:43 | you can always come back to this
document if you needed in the future and
| | 02:46 | hopefully, knowing the mechanics of the
mode will help you anticipate how they
| | 02:50 | work as we employ the various
blending options in future chapters.
| | Collapse this transcript |
|
|
3. The Normal ModesNormal mode vs. Dissolve mode| 00:00 | In this chapter we'll be
taking a look at the normal modes.
| | 00:03 | Now the first of the normal modes is
Normal, which turns the Blend Mode off, not
| | 00:07 | really anymore to say about that.
| | 00:09 | The other modes are Dissolve, which
I'll demonstrate inside this exercise.
| | 00:13 | We also have a couple of other modes
behind and clear that are associated
| | 00:17 | with the Brush Tool and the Fill command and
we'll see how those work in future exercises.
| | 00:22 | I'm working in a file called Circles.
psd found inside the 03_normal folder,
| | 00:27 | and I'm going to start things off by
switching the Blend Mode from Normal to Dissolve.
| | 00:31 | You're not going to see much of a
difference I'll go ahead and zoom on in here,
| | 00:35 | so that we can see those edges, and you
know what, I'll zoom to 200%, so you can
| | 00:39 | see how things have gotten a
little bit ratty along those edges.
| | 00:43 | And what's happing here is,
Photoshop is converting those edges to either
| | 00:46 | absolutely opaque or absolutely transparent.
| | 00:49 | So we're losing the anti-aliasing and
then anti-alias edge is getting resolved
| | 00:54 | as a dither pattern.
| | 00:55 | Now it doesn't look much more than
ratty at this point, let's go ahead and zoom
| | 00:58 | back out by pressing Ctrl+
0 or Command+0 on the Mac.
| | 01:02 | If you really want to get a sense of
what Dissolve is doing then try pressing
| | 01:06 | for example the 5 key in order to
reduce the opacity to 50%, and you'll see
| | 01:11 | that instead of getting the standard
expression of translucency which is what
| | 01:15 | we get if we were looking at the
circle in the Normal Mode and just for the
| | 01:18 | sake of demonstration I'll press Shift+
Alt+N or Shift+Option+N on the Mac to
| | 01:22 | switch back to Normal and now you can see that
we have your everyday average 50% opaque circle.
| | 01:27 | Alright, I'll press Ctrl+Z or Command+Z
on the Mac to switch back to dissolve.
| | 01:31 | So that's one way to exploit the
Dissolve Mode, I'm going to press the 0 key in
| | 01:36 | order to restore the Opacity to 100%.
| | 01:39 | Here is something else you can do.
| | 01:40 | Go up to the Filter menu and choose Blur
and then choose Gaussian Blur and let's
| | 01:46 | go ahead and increase that Blur value
to something like 25 pixels and you can
| | 01:51 | see that the entire blurred area,
which is ultimately an expression of
| | 01:54 | translucency turns into
a dithered noise pattern.
| | 01:57 | Now I'll go ahead and click OK
in order to accept the effect.
| | 02:01 | So that's the basics of what's
going on with the Dissolve Mode.
| | 02:04 | In the next exercise I'll show you how
Dissolve becomes a more powerful Blend
| | 02:07 | Mode when assigned to a Layer Mask.
| | Collapse this transcript |
| Making a dynamic Dissolve effect| 00:00 | So here I am looking at the
Dissolved circle from the previous exercise.
| | 00:04 | Now the problem with it even though it's
surrounded by this interesting dithered
| | 00:07 | noise pattern is that I can't back off
the effect, because after all I applied
| | 00:12 | Gaussian Blur as a static modification.
| | 00:15 | So I can increase the Blur value if I
want to, just by pressing Ctrl+Alt+F or
| | 00:20 | Command+Option+F on the Mac to
revisit the Gaussian Blur dialog box, and I
| | 00:24 | could take the Radius value up to
let's say 100 pixels to really blast things
| | 00:29 | out and then click OK.
| | 00:31 | But now I've applied another
static helping of Gaussian Blur.
| | 00:35 | Some other day when I'm working inside
this file I can't back off the effect.
| | 00:39 | What if you want to
dissolve a layer dynamically?
| | 00:42 | Well then you need to resort
to a Layer Mask, and here's how.
| | 00:45 | I'm going to turn off this Circle layer
and I'm going to turn on the Mask layer
| | 00:49 | which is a layer of solid white inside
of a Layer Mask, so I'll go ahead and
| | 00:53 | click on that Layer Mask thumbnail in
order to select it and I'll once again
| | 00:58 | switch from the Normal Mode to the
Dissolve Mode and that will give us that
| | 01:01 | slight amount of
diffusion around the edge there.
| | 01:04 | Then I'll bring up my Masks Panel by
going to the Window Menu and choosing Masks
| | 01:09 | and I'll increase the Feather value.
| | 01:10 | So I'll take the value up to a 100
pixels for example in order to blow that
| | 01:15 | effect away, and then later if I
change my mind all I have to do is return to
| | 01:20 | the Masks Panel and set the Feather
value to something else, such as my original
| | 01:24 | Radius value of 25 pixels, in
order to achieve this effect here.
| | 01:29 | Between you and me I consider
this an extremely good way to work.
| | 01:32 | I do want you to know however that
while it works for pixel-based layer masks
| | 01:37 | this technique for whatever
reason does not work with vector masks.
| | 01:41 | So I'll go ahead and turn off that
mask layer, and I'm going to collapse my
| | 01:44 | Color Panel just to give myself a
little more room, and then I'll turn on the
| | 01:47 | vector layer, click on its mask
thumbnail in order to select it, change the Mode
| | 01:52 | from Normal to Dissolve.
| | 01:53 | Notice that we don't see any
changes around the edges of that circle.
| | 01:58 | Even if I increase the Feather value to
something extreme such as let's say 100
| | 02:02 | pixels we still end up with
some very smooth transitions.
| | 02:06 | So that's just my way of letting you
know that if you want to work with Dissolve
| | 02:09 | then you need to be working with the
pixel-based layer or in this case a
| | 02:13 | pixel-based Layer Mask.
| | 02:14 | In the next exercise I'll show you how
to use the Dissolve Mode to create an
| | 02:18 | interesting text effect.
| | Collapse this transcript |
| Creating a Dissolve text effect| 00:00 | In this exercise I am going to show
you how to create a custom text effect
| | 00:03 | using the dissolved mode.
| | 00:05 | Specifically we'll be creating the
effect you see here and the name of the file
| | 00:09 | by the way is Stress text.psd
found inside the 03_normal folder.
| | 00:14 | I'm going to switch over to
this file, White type.psd.
| | 00:17 | Notice that it contains an editable text layer.
| | 00:19 | Now I'll start things off by
applying the dissolve mode.
| | 00:22 | So I'll switch from Normal to
Dissolve like so, and we get those
| | 00:25 | slightly dithered edges.
| | 00:27 | Now to increase the fact we need to
blur the text, we can't blur the text
| | 00:31 | directly, so we first need to convert it
to a smart object by going up to Layers
| | 00:35 | panel fly-out menu and choosing
Convert to Smart Object or if you loaded my
| | 00:38 | DekeKeys, you can press Ctrl
+, or Command+, on the Mac.
| | 00:42 | Next I'm going to go up to the Filter
menu choose Blur and choose Gaussian Blur
| | 00:47 | and I'll take the Radius value up to 5
pixels, but the great thing here is that
| | 00:51 | you can change your mind anytime you want.
| | 00:53 | So after clicking OK, I could just
double-click on Gaussian Blur here inside
| | 00:58 | the Layers panel, in order to revisit
the Gaussian Blur dialog box and I could
| | 01:02 | reduce the Blur value to something like 2,
and then end up with a modified effect.
| | 01:06 | Anyway, I don't want to do that, I just
wanted to show you, so I'm going to cancel out.
| | 01:10 | Next we need to assign a Bevel &
Emboss effect, but if we try to apply the
| | 01:14 | effect directly to this dithered text,
we want get the effect we're looking for.
| | 01:17 | I'll go ahead and show you what I
mean, I'll drop down to the fx icon and
| | 01:21 | choose Bevel & Emboss and notice that
we don't have a dithered emboss affect at
| | 01:26 | all, instead we have this very soft
emboss, and that's because the layer effect
| | 01:30 | doesn't actually see these dithered
edges, and so far as it's concerned, we
| | 01:34 | still have those blurry edges from
Gaussian Blur filter, so I'll cancel out of here.
| | 01:38 | Here is what we need to do instead, we
need to convert this text into a mask,
| | 01:43 | and we're going to do that by
turning off the redness layer.
| | 01:45 | Notice that I have a layer of black in the
background, so the text will select itself.
| | 01:50 | All I have to do is go to the
Channels panel and then Ctrl+Click or
| | 01:54 | Command+Click on the Mac, on
any one of these channels here.
| | 01:58 | Either the RGB composite or the red
green or blue channel, any of them will do.
| | 02:03 | Now we've managed to select the text
including those dithered edges, so I'll
| | 02:07 | switch back to the Layers panel and
turn the redness layer back on, turn our
| | 02:11 | stress text layer off, and then press
the Alt key or the Option key on the Mac,
| | 02:16 | click on that black white icon down
at the bottom of the panel, and choose
| | 02:19 | Solid Color and we'll go ahead and call this
layer static text, because that's what we have now.
| | 02:25 | We're not going to be able to edit
this layer as text in the future.
| | 02:28 | I clicked OK, and by default Photoshop
is going to want to fill the layer with
| | 02:31 | black, that doesn't matter, just
click OK to escape the color picker dialog
| | 02:35 | box, because we're going to reduce the Fill
value to 0%, and of course the text disappears.
| | 02:41 | However, now we can throw
layer effects on top of it.
| | 02:44 | Go ahead and click on the fx icon down
here at the bottom of the panel, choose
| | 02:48 | Bevel & Emboss in order to bring
up the Layers Style dialog box.
| | 02:52 | Assuming default settings, take the
Size value down to 3 pixels and then let's
| | 02:56 | take both of the Opacity values up to 100
% and we end up with this subtle effect
| | 03:01 | here, don't worry, it want end up being
subtle by the time we're done, click on
| | 03:04 | Drop Shadow in order to turn on that
effect, and let's go ahead and crank the
| | 03:09 | Opacity value up to 100% once again,
and take both the Distance and Size value
| | 03:13 | stand to 3 pixels and then click OK.
| | 03:16 | Now I want to apply a few helpings of
the mezzotint filter, which will create
| | 03:20 | those horizontal grooves in the letter.
| | 03:22 | To do so, click on the Layer mask icon
to select it and then, because we only
| | 03:27 | want the mezzotint lines to appear
inside the letters, Ctrl+Click or
| | 03:32 | Command+Click on the Mac on that layer
mask thumbnail in order to convert it
| | 03:36 | into a selection outline, then press Ctrl+H
or Command+H on the Mac to hide the edges.
| | 03:41 | Go to the Color panel and change your
foreground color to 25% black, like so,
| | 03:48 | and then press Alt+Backspace or Option+
Delete on the Mac to fill the letters
| | 03:52 | with that very light shade of gray, and
the reason we're doing that is we need
| | 03:56 | to give the mezzotint filter a
little grayness to lock onto.
| | 03:59 | Then, go up to the Filter menu choose
Pixelate, and choose Mezzotint, and inside
| | 04:05 | the Mezzotint dialog box, switch the
type from Fine Dots, which I believe is a
| | 04:09 | default to the last setting in the list,
Long Strokes and then click OK in order
| | 04:15 | to create this effect here.
| | 04:16 | Now if that's not quite enough for you.
| | 04:18 | If you want up the effect a little bit,
then press Ctrl+F or Command+F on the
| | 04:22 | Mac to add a few more lines.
| | 04:24 | I'm going to press Ctrl+F or Command+
F yet again in order to apply a third
| | 04:28 | helping of the filter in
order to achieve this effect here.
| | 04:32 | Now the great thing about mezzotint
is it's a random filter, delivers a
| | 04:36 | different effect every time, so this
is how my effect looks this time around,
| | 04:39 | this is how it looked before.
| | 04:41 | Thanks to our ability to exploit the
dissolved mode for special effects purposes
| | 04:46 | here inside Photoshop.
| | Collapse this transcript |
| The Behind and Clear modes| 00:00 | In this exercise I'll
demonstrate the behind and clear modes.
| | 00:03 | Both of which are part of the normal
group, but they're not found inside the
| | 00:07 | Layers panel, instead they're
associated with a handful of the Paint and Edit
| | 00:10 | tools as well as the Fill and Stroke commands.
| | 00:13 | I'm working inside a file called Big blue
marble.pds, found inside the 03_normal folder.
| | 00:19 | Notice that the marble layer is
selected here in the Layers panel and I've gone
| | 00:22 | ahead and assigned a white stroke,
just so we can easily keep track of the
| | 00:25 | edges of this layer.
| | 00:26 | I have also set my foreground color to
red in advance, I'm going to go ahead and
| | 00:31 | switch over to the Brush Tool, which I
can get by pressing the B key, and armed
| | 00:35 | with my walk on tablet, I'm going to go
ahead and paint a brush stroke over the
| | 00:39 | Earth like so, and so this is the
effect of normal painting on a layer inside a
| | 00:45 | Photoshop, and notice that the program
went ahead and automatically traced the
| | 00:49 | stroke around the new contours of the layer.
| | 00:52 | Now let's say I want to paint
exclusively inside the layer, I want to affect
| | 00:56 | the opaque pixels, respect the transparency, so
that I'm effectively painting inside the lines.
| | 01:01 | Well, then I would go over to the top
of corner of the layers panel and turn on
| | 01:05 | the first lock icon, which locks down
the transparent pixels, you can also by
| | 01:09 | the way invoke that icon
by pressing the slash key.
| | 01:12 | So in my case, slash would turn it off
and then slash would turn it back on.
| | 01:16 | Now, if I paint somewhere inside
the layer, I will paint my brushstroke
| | 01:20 | exclusively inside the Earth or
inside the existing red brushstroke.
| | 01:26 | That's not technically speaking a
blending option, I only bring it up,
| | 01:30 | because what if you want to do
exactly the opposite, instead of painting
| | 01:34 | inside the opaque region of the layer,
you want to paint exclusively in a
| | 01:37 | transparent portion of the layer,
then turn off that lock icon, that's very
| | 01:41 | important, and then go up to the Mode
option here on Options bar and switch
| | 01:45 | it from Normal to Behind.
| | 01:47 | So you will effectively paint behind
the layer even though I should say you're
| | 01:52 | still painting on the layer, you're
just expanding the transparent region.
| | 01:56 | What I'm going to do is press the Escape
key, so that option is no longer active
| | 02:00 | at the top of the window there, and then
I'm going to press the DekeKey in order
| | 02:04 | to make my foreground color black
and notice now as I paint, I'm painting
| | 02:08 | exclusively behind the Earth and that
red brushstroke that I drew a moment ago.
| | 02:14 | So that's how the Behind mode works.
| | 02:16 | There is one more, and that's a Clear mode.
| | 02:18 | If I switch the mode option from
Behind to Clear, and notice that these two
| | 02:23 | options are part of that first
normal group, then I effectively turn my
| | 02:27 | paintbrush into an eraser, so that I
can erase lines into the world here.
| | 02:33 | The effect here isn't any different
than painting with the Eraser Tool, so it's
| | 02:37 | kind of a duplicate effect.
| | 02:39 | However, if you're using the Brush Tool
and you want to erase on the fly, it's a
| | 02:42 | convenient way to go.
| | 02:44 | Remember that you have a keyboard
shortcut for the clear mode, which is
| | 02:48 | Shift+Alt+R or Shift+Option+R on the Mac.
| | 02:51 | That's how the Behind and Clear modes
work when combined with the Brush Tool.
| | 02:55 | In the next exercise, I'll show you how
to make use of both of those modes using
| | 02:59 | the Fill and Stroke commands.
| | Collapse this transcript |
| Filling a stroke with Behind and Clear| 00:00 | In this exercise I am going to show
you how to use the Behind and Clear modes
| | 00:03 | along with the Fill and Stroke commands.
| | 00:06 | I've gone ahead and restored the saved
version of my Big blue marble.psd file,
| | 00:10 | found inside the 03_normal folder.
| | 00:13 | And very quickly, let me show you how
the options work along with the Fill
| | 00:16 | command just so you can have a
sense of what's going on here.
| | 00:19 | I am going to switch from the
Rectangular Marquee to the Elliptical Marquee.
| | 00:22 | Notice that I've already set my
foreground color to Red in advance.
| | 00:26 | I also have the marble layer
selected inside layers panel.
| | 00:28 | I am going to draw the circular
selection around this side of the earth and then
| | 00:33 | I'll go up to the Edit menu and
choose the Fill command, or you can press a
| | 00:37 | keyboard shortcut Shift+
Backspace or Shift+Delete on the Mac.
| | 00:41 | I mention that because that's
what I'll be doing in the future.
| | 00:43 | We'll go and choose the Fill command.
| | 00:45 | I've set Use to Foreground Color, so that I'm
filling the selection with that shade of red.
| | 00:50 | And I've got the Opacity cranked up to 100%.
| | 00:52 | I am going to change the mode from
Normal to Behind and then click OK and I end
| | 00:57 | up filling the region behind the earth.
| | 01:00 | Another thing you can do, if I were
to move this selection to a different
| | 01:03 | location and then return to the Edit
menu, choose the Fill command again.
| | 01:07 | I could change the mode from Behind to
Clear and then go ahead and click OK and
| | 01:13 | I'd cut a hole using that selection
which is actually kind of a lot of work
| | 01:17 | when you think about it.
| | 01:17 | I'll press Ctrl+Z or Command+Z on a Mac,
because all I had to do was press the
| | 01:22 | Backspace key or the Delete key on
the Mac in order to delete the pixels
| | 01:25 | inside this selection.
| | 01:27 | But it's a way of working.
| | 01:28 | Anyway, let me show you something
of a practical use for these modes.
| | 01:32 | I am going to go up to the File menu
and choose the Revert command in order to
| | 01:35 | restore my saved world.
| | 01:37 | And then I'm going to draw some
rings around the planet like so.
| | 01:40 | So I'll draw a big ring to start with
and then I'll press the Alt key or the
| | 01:45 | option key on the Mac in order to
subtract a smaller ring from the inside.
| | 01:50 | And notice that I'm cheating kind of up,
so that the ring appears to decline as
| | 01:56 | it moves away from us.
| | 01:57 | All right, so the idea here is I want to
create a bright red ring around the earth.
| | 02:01 | I am going to press Ctrl+H or Command+H
on a Mac in order to hide the selection
| | 02:05 | and then I'll press Shift+Backspace or
Shift+Delete on a Mac in order to bring
| | 02:09 | up the Fill dialog box and I'm going to
change the mode to Behind once again so
| | 02:15 | that I fill the rings behind
the earth and I'll click OK.
| | 02:18 | Now that looks pretty good and we
definitely want the big red ring to go
| | 02:21 | behind the earth when it passes around
the rear of the planet, but we need to
| | 02:25 | see the ring in front here.
| | 02:27 | So I'll press Ctrl+H or Command+H
on the Mac to bring back my selection
| | 02:30 | outline, so I cam see it.
| | 02:31 | And I am also going to switch back
to my Rectangular Marquee Tool, press
| | 02:35 | and hold the Alt key or the Option
key on a Mac and remove this portion of
| | 02:40 | the selection like so.
| | 02:42 | So, I am deselecting the area around
the top of the planet, fairly roughly
| | 02:47 | as you can see here.
| | 02:47 | So I have this region still selected
for the front of the globe and now I'll
| | 02:52 | press Shift+Backspace or Shift+Delete
on the Mac in order to bring up the Fill
| | 02:56 | dialog box once again.
| | 02:57 | This time I want to respect the
Opacity of the layers, so that I am just
| | 03:00 | filling in the portion of the selection
that's already been filled in and that
| | 03:04 | way I won't get any harsh transitions
over here at the sides of the rings, the
| | 03:08 | ones that I've cut off.
| | 03:10 | So what I want to do is turn on the
Preserve Transparency checkbox, because
| | 03:13 | that's just like that Lock Transparency
option in the Layers panel that we saw
| | 03:17 | in the previous exercise, but it's dimmed
and that's because the Mode is set to Behind.
| | 03:21 | Any time the Mode is set to Behind or
Clear that option will appear dimmed.
| | 03:25 | However, if you change Mode back to
Normal, it becomes available again.
| | 03:29 | I'll go ahead and turn it on and then click OK
in order to fill the forward part of the ring.
| | 03:34 | All right, now what I want to do is
scrape away the areas above and below the
| | 03:40 | ring in the planet just as an effect
and I am going to do that using the Stroke
| | 03:45 | command combined with the Clear mode.
| | 03:48 | So I'll go up to the Edit menu and
I'll choose Stroke and notice those of you
| | 03:52 | who loaded dekeKeys, I've given you a
keyboard shortcut, I use this command all the time.
| | 03:56 | It's Ctrl+Shift+' or Command+Shift+' on the Mac.
| | 03:59 | Anyway, I'll go ahead and choose the
command, I am going to crank the Width
| | 04:02 | value up to 30 pixels, change the
location to outside like so and then change
| | 04:08 | the mode from Normal to Clear and click OK.
| | 04:12 | And that goes ahead and creates these
clear strokes above and below the rings.
| | 04:16 | All right, now I am going to press Ctrl+D
or Command+D on a Mac to deselect the image.
| | 04:20 | Now, we've got some problems, we've got
some breaks over here on the right and
| | 04:25 | left hand sides of the rear rings.
| | 04:27 | We'll reinstate those using
the Rectangular Marquee Tool;
| | 04:30 | just go ahead and select around one
region, Shift+Select around the other
| | 04:33 | region in order to make sure that
both of the broken areas are encompassed
| | 04:37 | inside your selection.
| | 04:39 | Then I want to go up to the Window menu
and choose the History command in order
| | 04:43 | to bring up the History panel.
| | 04:44 | And we want to set the source state to
the one immediately before stroke and you
| | 04:49 | do that by clicking in
front of, in my case, Fill.
| | 04:52 | So you'll see this little Brush icon in
front of the state immediately before stroke.
| | 04:56 | Once again, go ahead and hide that
panel and then press Shift+Backspace or
| | 05:01 | Shift+Delete to bring up the Fill
dialog box, turn off Preserve Transparency,
| | 05:06 | make sure Mode is set to Normal, Opacity
is set to 100% and then change Use from
| | 05:11 | Foreground Color to History and then
click OK and that goes ahead and reinstates
| | 05:17 | those missing pieces.
| | 05:19 | And that, friends, is at least one way
to combine the Behind and Clear modes
| | 05:23 | along with a Fill and Stroke
commands here inside Photoshop.
| | Collapse this transcript |
|
|
4. The Darken ModesDarken vs. Darken Color| 00:00 | In this exercise, we'll take a look at
the most basic of the Darken modes which
| | 00:04 | are Darken and Darker Color.
| | 00:06 | Now between you and me you are not
going to be using these blend modes very
| | 00:09 | often, however I do want you to
understand how they work and I will be showing
| | 00:13 | you a couple of filtering effects that
work quite nicely with the Darken mode
| | 00:17 | in the next exercise.
| | 00:18 | I am looking at a file called Darken
demo.psd found inside the 04_darken folder
| | 00:24 | and notice below the model layer, we
have a trio of background layers that we'll
| | 00:29 | be taking a look at over the
course of next few exercises.
| | 00:32 | We'll start things off by merging the
model with this water layer in the background.
| | 00:37 | All of these images by the way hail
from the Fotolia Image Library about which
| | 00:42 | you can learn more and get a
discount at fotolia.com/deke.
| | 00:44 | I am going to go ahead and turn that
model layer back on, click on the Blend
| | 00:49 | Mode pop-up menu and then choose Darken.
| | 00:51 | Now this blend mode is extremely simple.
| | 00:54 | Here's what it does.
| | 00:55 | I am going to go ahead and zoom in
here, so we can see things more closely.
| | 00:58 | Darken evaluates every pixel on the
active layer and compares it to the
| | 01:02 | pixel directly behind it.
| | 01:04 | If the pixel on the active layer
is darker, then you see that pixel.
| | 01:08 | If the pixel behind it is darker, then
you see the background pixel instead.
| | 01:13 | So it's an on-off proposition, either
you're seeing the active layer pixel or
| | 01:17 | you're seeing the background pixel.
| | 01:19 | Now if you take a look at this
image that doesn't really reconcile.
| | 01:23 | After all there are some portions of
her face that are definitely opaque here
| | 01:27 | in the shadow region along the right
side of her cheek and down her neck as
| | 01:30 | well, and some of the shadow details inside
of her lips, and her eyelashes, and so forth.
| | 01:35 | And these other areas over here on
the left hand side of the face that are
| | 01:38 | giving way to the water in the
background, but then we have some transitional
| | 01:42 | areas where her skin ends up looking
translucent to the point that emerges with
| | 01:47 | the blue of the background in
order to create these green shades.
| | 01:51 | So what in the world is going on there?
| | 01:52 | Well, that comparison I was telling
you about, that on-off comparison, either
| | 01:56 | you see the active pixel or you see
the pixel behind it, is happening on a
| | 02:00 | channel by channel basis.
| | 02:02 | So if I switch to the Channels panel
and click on the Red channel, you can see
| | 02:05 | now that it is an on/off proposition,
it maybe hard to tell in some of these
| | 02:10 | semi-transitional areas here, but
either we're seeing the red pixels from her
| | 02:14 | face or we're seeing the red
pixels from the water and that's it.
| | 02:18 | There is no merging of the pixels,
there is no translucency going on.
| | 02:22 | However, because the water is blue,
it's not very bright inside of the Red
| | 02:26 | channel, so the water is usually winning out.
| | 02:29 | If I switch to the Green channel, we're
seeing a lot more of her face this time
| | 02:33 | around, because the water has a lot of
green in it, meaning, that the water is
| | 02:37 | very bright in the Green channel,
and she's darkening up inside the Green
| | 02:40 | channel, and then when we switch to
the Blue channel, she wins every pixel I
| | 02:45 | believe, because after all blue water
is going to show up very bright in the
| | 02:49 | Blue channel and as a result, she's
relatively darken to Blue channel.
| | 02:53 | So the upshot is that these various
channels intermix with each other and we end
| | 02:58 | up with these transitional greens in between.
| | 03:01 | Now if don't want that, if you want a
strictly on/off proposition across the
| | 03:05 | board, then you switch back to the
Layers panel, click on that Blend Mode pop-up
| | 03:09 | menu and select the last of the Darken modes.
| | 03:12 | Now in my opinion, it ought to directly
follow Darken, because Darker Color is a
| | 03:16 | very similar mode, and it's not
related to the three in between.
| | 03:20 | However, you go ahead and choose
Darker Color, and now what's happening is
| | 03:24 | Photoshop is deciding whether a pixel
is darker in the active layer or whether
| | 03:28 | it's darker in the
background on a composite basis.
| | 03:31 | So in other words, we are ready to
switch back to the Channels panel, we are
| | 03:34 | seeing those same pixels show up as
opaque in the Red channel, the Green channel
| | 03:39 | and the Blue channel.
| | 03:40 | So, all three channels are
showing the same opacity information.
| | 03:43 | In other words, either, we're seeing a
pixel from the active layer or a pixel
| | 03:47 | from the background, and that's it. All right!
| | 03:49 | I am going to go ahead and switch back out,
zoom out as well in order to take in the image.
| | 03:53 | So you can see that Darker Color
might prove useful on occasion if you are
| | 03:58 | trying to create the effect that one
image is emerging from another image, as
| | 04:03 | we see here, however, you do get very harsh
jagged transitions as a result of this mode.
| | 04:10 | So Darker Color seeks out the darkest
pixel on a composite basis, and Darken
| | 04:15 | does so on a channel by channel basis.
| | 04:18 | In the next exercise, I'll show you
how to combine Darken along with Smart
| | 04:21 | Filters to achieve a couple of special effects.
| | Collapse this transcript |
| Creating filter effects with Darken| 00:00 | In this exercise, we will explore a
couple filtering effects that rely on
| | 00:03 | the Darken Blend mode.
| | 00:05 | I have restored the same version of
Darken demo.psd found inside the 04_darken
| | 00:09 | folder, and I am going to turn off
the model layer and click on the water
| | 00:12 | layer to select it.
| | 00:14 | Now notice that the water is pretty
bright and I actually brightened it up a bit
| | 00:17 | using a layer effect.
| | 00:19 | To see that effect, go ahead and click
the down pointing arrow head to expand
| | 00:22 | the effects and then double-click on Color
Overlay to bring up the Layer style dialog box.
| | 00:27 | And you'll see all it is, is
a white overlay. That's it.
| | 00:30 | So if I was to change the Opacity to
100%, the entire layer would turn white,
| | 00:35 | which is why I reduce the Opacity to 35% and
that just ended up boosting all the colors.
| | 00:41 | Reason I did that was to keep
things nice and bright so I could better
| | 00:44 | demonstrate how those darken modes work.
| | 00:45 | Anyway, it's just another
way to brighten the layer.
| | 00:48 | I am going to cancel out of that
dialog box and I am going to turn off that
| | 00:51 | effect because I don't want it for this demo.
| | 00:53 | And then I'm going to click of the fly-out
menu icon and choose Convert to Smart Object.
| | 00:57 | In order to turn this into a smart
object, so I can apply smart filters.
| | 01:02 | Now let's say what I want to do is I want to
fill in some of the whites in the water here.
| | 01:06 | And I want to do so using a Blur effect,
so we get kind of color softness going on.
| | 01:11 | However, I don't want to
lose the detail in the water.
| | 01:14 | Well, I'd go up to the Filter menu,
choose Blur and then choose Gaussian Blur.
| | 01:19 | And in this case, I decided to take the
Radius up to 10 pixels, but you can play
| | 01:23 | around with out to see what works.
| | 01:25 | Then click OK and next, drop down to
this little slider icon right there,
| | 01:29 | double-click on it in order to bring
up the Blending Options dialog box.
| | 01:33 | Smart filters are another instance
where you have access to the entire list of
| | 01:37 | those same 27 blend modes that are
available to you in the Layers panel.
| | 01:41 | And I am going to go ahead and choose
Darken, in order to keep those blurred
| | 01:44 | pixels that are darker than the original pixels.
| | 01:47 | So in other words, if the blurred
pixels are darker, we are seeing them;
| | 01:51 | if the original pixels are
darker, we are seeing them instead.
| | 01:54 | Now as a result, we are seeing an
awful lot of detail inside of this water.
| | 01:58 | I will go ahead and click OK in
order to accept that modification.
| | 02:01 | And so that's just one example;
| | 02:03 | you can try that out all
kinds of different images.
| | 02:05 | It tends to be quite useful for diffusion
effects, especially on backgrounds. All right!
| | 02:10 | Let's check out another one.
| | 02:11 | I am going to go ahead and turn on the
model layer and click on it to make it active.
| | 02:15 | Let's convert it to a smart object as
well by clicking on the fly-out menu icon
| | 02:19 | and choosing Convert to Smart Object or
if you've loaded dekeKeys, you can press
| | 02:22 | Ctrl+Comma or Command+Comma on the Mac.
| | 02:25 | And now I am going to go up to the
Filter menu, choose Pixelate and choose a
| | 02:29 | filter that I don't use very often, Mosaic.
| | 02:31 | And if you know anything about this filter,
what it does is exactly what you're seeing.
| | 02:35 | It pixelates the image which can be
useful on a practical basis, if you're
| | 02:39 | trying to make somebody in the
background unrecognizable, for example, you don't
| | 02:43 | have a model release on
somebody that you photographed.
| | 02:46 | There's a behind some people
that you do have model releases for.
| | 02:49 | So you just go ahead and pixelate
their eyes or their facial features that
| | 02:52 | second kind of thing and
Mosaic is the way to pull that off.
| | 02:55 | I have set the Cell Size to 32 square.
| | 02:58 | What that means is 32 pixels by 32
pixels square, for each one of these big
| | 03:02 | pixels and then I'll click OK
in order to accept that effect.
| | 03:06 | Now in this case, I do want this to be
an effect, I want the detail from the
| | 03:10 | model to show through.
| | 03:12 | So I'll go ahead and double-click on
the slider icon in order to bring up the
| | 03:15 | Blending Options dialog box and once
again, change the mode from Normal to
| | 03:19 | Darken and we end up with this effect
here, which I think is pretty becoming.
| | 03:24 | I will go ahead and click OK.
| | 03:25 | Now imagine at this point, I will
go ahead and zoom in here a little.
| | 03:28 | I want to achieve some
scalloped edges around the square.
| | 03:32 | So I want these squares to have a
little bit of roundness associated with them.
| | 03:36 | So I will go back up to the Filter
menu, choose the Noise command this time
| | 03:40 | and then choose Medium.
| | 03:42 | And I ended up arriving at a Radius
value that is one quarter the value I
| | 03:46 | entered into the Mosaic dialog box.
| | 03:49 | So I entered 32 before, this time around I
change the radius to 32 divided by 8 pixels.
| | 03:55 | The math doesn't really matter that
much, but I ended up liking the effect.
| | 03:58 | So I will go ahead and click OK
in order to apply the command.
| | 04:01 | And then once again, we don't
want to rub out all the detail in the
| | 04:05 | underlying originals.
| | 04:06 | So double-click on the slider icon to
bring up the Blending Options dialog box
| | 04:10 | and switch the mode from Normal to Darken in
order to bring that detail back. Click OK.
| | 04:15 | Now at this point, I figured she
was sort of this computer rendering.
| | 04:19 | So I ought to introduce some circuit
board green and I did that by dropping down
| | 04:24 | to the fx icon and choosing Color
Overlay and not surprisingly, I decide change
| | 04:29 | the Blend Mode for this effect to
Darken and by default, you are going to get
| | 04:33 | this highly saturated very bright red effect.
| | 04:36 | Click on the right color swatch to bring
up the Color Picker dialog box and then
| | 04:39 | change the Hue value to 90 degrees like so.
| | 04:42 | And then click OK and click OK again
and we arrive at this final effect, which
| | 04:48 | given the small amount of work we put
into it, I think it's quite successful.
| | 04:52 | And what's more amazing is it relies on
two smart filters and a layer effect all
| | 04:57 | of which are set to the Darken blend mode.
| | Collapse this transcript |
| The Multiply and Burn modes| 00:00 | In this exercise we will take a look
at the three remaining darken modes,
| | 00:03 | Multiply, Color Burn and Linear Burn.
| | 00:06 | These are the ones that you'll be
using on a regular basis, in particular
| | 00:10 | Multiply, which is one of the big
majorly used for blend modes inside Photoshop.
| | 00:14 | I have restored the saved version
of Darken demo.psd, found inside the
| | 00:18 | 04_darken folder and this time around
we are going to merge the model with the
| | 00:22 | Wall layer in the background.
| | 00:23 | So I am going to turnoff both the
travertino and the water layers.
| | 00:27 | And you can see, we've got the Model
layer selected, if I turn her off for a
| | 00:30 | moment, there is the Wall layer
that we will blending her against.
| | 00:33 | I will go ahead and turn that layer back
on and change the Blend Mode to Darken,
| | 00:37 | just so you can get a
sense of what that looks like.
| | 00:39 | Now notice in this case, because
she is a warm image set against a warm
| | 00:43 | background, in other words, the pixel
that's darkest ends up reconciling about
| | 00:47 | the same way in each of
the three color channels.
| | 00:50 | So we have nothing
resembling smooth transitions.
| | 00:53 | Compare that to Multiply, if I were to
press Shift++, that will advance to the
| | 00:57 | next mode, which is the Multiply mode,
and we've got these splendidly smooth
| | 01:01 | transitions throughout the composition.
| | 01:03 | Now by way of analogy, imagine
that you have two transparencies;
| | 01:08 | the model has been rendered on one
transparency, the wall on another.
| | 01:11 | You take both of them, you set them on
a light table on top of each other, and
| | 01:15 | this is the effect that you would get.
| | 01:17 | The light is shining through both of
the transparencies growing darker with
| | 01:21 | the application of each, and as a
result you end up getting a darker
| | 01:24 | combination of the two.
| | 01:26 | Here's something to know
about the Multiply mode though.
| | 01:28 | It never results in clipping, so in
other words, you are not going to clip any
| | 01:32 | pixels to white or black unless it
was already clipped to white or black
| | 01:36 | before you started.
| | 01:38 | Multiply will not introduce clipping
into the image, it can't, which is one of
| | 01:42 | the wonderful things about the mode.
| | 01:44 | And we will see a few
applications for it in future exercises.
| | 01:48 | If that's not quite the effect you're
looking for, if it's too subdued for
| | 01:51 | example, you can switch to one of the
Burn modes, and we have got two of them to
| | 01:55 | choose from, Color Burn and Linear Burn.
| | 01:58 | Color Burn ends up producing a stark and
highly saturated blend, as you can see here.
| | 02:03 | It's almost as if the photograph of
the model was burnt into the wall in the
| | 02:07 | background, which can be great
for creating special effects.
| | 02:10 | However, you end up losing a lot of
contouring as well, as you can see here.
| | 02:14 | Color burn, because it's one of the
over the top effects, it's part of the Fill
| | 02:18 | Opacity, meaning, that it responds
differently to the Fill value, than it does
| | 02:22 | to the Opacity value.
| | 02:23 | So if you're tempted to back off the
effect, what I suggest you do is reduce
| | 02:27 | Fill as opposed to Opacity.
| | 02:30 | So for example, if I press Shift+8 in
order to reduce that Fill Opacity value to
| | 02:34 | 80%, I end up achieving
these more organic transitions.
| | 02:38 | All right, I am going to press Shift+
0 to restore the Fill value to 100%.
| | 02:42 | And then I will advance to the next
blend mode by pressing Shift++ and that
| | 02:46 | blend mode is Linear Burn.
| | 02:48 | Now notice that we lose a lot of the
over-the-top saturation, which is a good
| | 02:52 | thing in my opinion, I really
like is mode, I use it a lot.
| | 02:55 | And we also restore a lot of the
detail on the left side of the model's face.
| | 02:58 | Now just for the sake of comparison, I
want you to see multiply, and I am going
| | 03:03 | to use its keyboard shortcut, which is
Shift+Alt+M or Shift+Option+M on the Mac.
| | 03:08 | So that's the Multiply Mode, nice smooth
transitions, but it doesn't necessarily
| | 03:13 | have the impact of the Linear Burn
mode, which has a keyboard shortcut of
| | 03:17 | Shift+Alt+A or Shift+Option+A on the Mac.
| | 03:20 | The thing you need to bear in mind
about both the Burn modes however is that
| | 03:24 | they can, and most often do introduce clipping.
| | 03:28 | And if they're going to clip anything,
they're going to clip the shadow details,
| | 03:31 | meaning that some of the shadow
details are going to get in black.
| | 03:34 | And if you want to check out what
those details are, then just go ahead and
| | 03:38 | create a Levels Adjustment layer.
| | 03:39 | I am going to click of the black-
white icon at the bottom of the panel and
| | 03:42 | choose Levels, and that will
open up the Adjustment Panel.
| | 03:46 | You can see here on the left side of
the histogram that we've got a lot of
| | 03:49 | clipping going on, because we have a
big huge spike right there in black.
| | 03:53 | If you want to check out where that
clipping is occurring, press and hold
| | 03:56 | the Alt key or the Option key and the Mac and
click and hold on that black slider triangle.
| | 04:01 | Any pixels that shows up is
absolutely black, has been clipped in all three
| | 04:06 | color channels, which is something
of a dangerous thing potentially.
| | 04:09 | Anywhere that you see any other colors
showing up, meaning it's clipped in one
| | 04:13 | or more color channels, White
means no clipping is occurring.
| | 04:17 | But just because clipping is not
occurring at those locations, doesn't mean
| | 04:21 | that you are going to be able to hold
these very, very dark shadows when you go
| | 04:24 | to print the image.
| | 04:25 | So what you might want to do is click
on that Model Layer again in order to
| | 04:29 | select it, Linear Burn, like Color
Burn is part of the Fill Opacity eight, so
| | 04:34 | it responds differently, generally better, to
the fill value, than it does the opacity value.
| | 04:39 | I am going to press Shift+8 in order to
reduce that Fill value to 80%, and now
| | 04:43 | if I click on the Levels layer once
again and press the Alt key or the Option
| | 04:47 | key on the Mac and click and hold on
that black slider triangle, you can see
| | 04:51 | that we have far less
clipping going on inside the image.
| | 04:54 | All right, I am going to go
ahead and release the mouse button.
| | 04:57 | Just to burn in this information if you
will, I am going to show you these three
| | 05:01 | modes against a different background.
| | 05:03 | I am going to collapse the Adjustments
panel, so we have a little more room to
| | 05:05 | work, click on the Model layer to
make it active and then switch that layer
| | 05:08 | back to Multiply and by pressing Shift
+Alt+M or Shift+Option+M on the Mac,
| | 05:12 | restore the Fill value to 100% by
pressing Shift+0, and now I am going to turn
| | 05:17 | on the Travertino layer so that we
can see the model against this brighter,
| | 05:20 | smoother, marble background.
| | 05:22 | So this is the effect of placing her on
one transparency, the marble on another,
| | 05:26 | shining the light through both of them.
| | 05:28 | If I press Shift++, then we switch to
the Color Burn mode, notice that we have
| | 05:32 | all kinds of intensely saturated color values,
a lot of color noise going on as a result.
| | 05:38 | And then finally, if I press Shift++
again, I switch to Linear Burn, and we get
| | 05:43 | some very dark shadow details, some
clipping going on as well, but we are
| | 05:47 | retaining more of the detail inside the face.
| | 05:50 | So here's my advice, if you want to
darken one image against another, and
| | 05:53 | there's all kinds of reasons to do so,
start with Multiply, that you are when in
| | 05:57 | doubt darkening mode.
| | 05:59 | If that's not working for you, if that
doesn't have enough impact, then go ahead
| | 06:03 | and switch for Multiply to Linear
Burn and see what that looks like.
| | 06:06 | If you end up liking the effect, be
sure to throw on a Levels Adjustment layer,
| | 06:10 | and then press the Alt key or the
Option key of the Mac and click and hold on
| | 06:13 | that black slider triangle, just to
get a sense of where the clipping is
| | 06:17 | occurring inside the image.
| | 06:19 | And that folks is how the major Darken
Mode's Multiply, Color Burn and Linear
| | 06:23 | Burn work here inside Photoshop.
| | Collapse this transcript |
| Cleaning up scanned line art| 00:00 | Over the next couple of exercises we
are going to take a look at one of the
| | 00:03 | most common ways for designers in
particular to use the Multiply Blend mode and
| | 00:08 | that's to composite a piece of Scan Line
Art against the photographic background.
| | 00:12 | So image we have this client and this
is the only version of the logo that they
| | 00:18 | can provide us with, they've lost the
digital original and this was the only
| | 00:22 | thing they could find, this laser
printed version of it that's got stuff
| | 00:25 | scrawled on it and has
been wadded up and so forth.
| | 00:28 | And believe it or not this is a pretty
common scenario, and we want to take the
| | 00:32 | thing, clean it up, make it look
absolutely beautiful, which we will.
| | 00:36 | And composite it against this
awesome corporate photograph;
| | 00:40 | and so the two really need to go
together, that logo needs to look this good.
| | 00:45 | And that is something
that you can do in Photoshop.
| | 00:47 | So the first step is to clean up the
logo, and this is a necessary first step
| | 00:51 | when you're working with any Scan
Line Art regardless of its quality.
| | 00:54 | The name of this file is Scanned logo.tif,
it's found inside the 04_darken folder.
| | 00:59 | And the first thing that we need to do
is make the blacks as black as possible,
| | 01:03 | and make the whites as white as possible.
| | 01:05 | So go up to the Image menu, choose the
Adjustments command, and choose Levels or
| | 01:10 | press Ctrl+L or Command+L on the Mac,
and you may ask why we are applying a
| | 01:14 | static color modification instead of an
Adjustment layer, and the reason is we
| | 01:18 | are working with pretty bad stuff in
the first place, and an adjustment layer
| | 01:21 | isn't going to do us any good in the long run.
| | 01:23 | All right, so notice these big humps
in the histogram, those represent the
| | 01:27 | colors that ought to be black
right here, and then these guys are the
| | 01:31 | colors that ought to be white, so this is a
paper white over here on the right-hand side.
| | 01:35 | I am going to go ahead and Alt+Drag or
Option+Drag this white slider triangle
| | 01:39 | over to the left side of that big
hump on the right, until I see just about
| | 01:44 | all of that background turn white, and
then I am going to back off just a little bit.
| | 01:49 | So my final Y point value is 170,
and that will go ahead and clip
| | 01:53 | everything that has a luminance
level of 170 or brighter, to white, which
| | 01:58 | is absolutely great.
| | 01:59 | Then I will press the Alt key or the
Option key once again and drag the black
| | 02:03 | slider over to the right until
everything that I think needs to be black, turns
| | 02:08 | black, and at about 40
that looks pretty good to me.
| | 02:11 | So black point value 40, a white point
value of 170, that will by the way take
| | 02:16 | everything with a luminance level off
40 or darker inside the original image
| | 02:20 | and send it to black.
| | 02:22 | All right, now I'll click OK in
order to apply that modification.
| | 02:25 | Now let's go ahead and zoom in.
| | 02:27 | We need to get a sense of where the
remaining sort of dust and scratches and
| | 02:32 | what I call snivels, just little bits
and pieces of gook are inside of this
| | 02:37 | image, so we can clean them up.
| | 02:38 | And you can do that using a
Threshold Adjustment layer.
| | 02:42 | Go ahead and press the Alt key or the
Option key on a Mac, click the black-white
| | 02:45 | icon at the bottom of the Layers panel,
and choose the Threshold command, it's
| | 02:49 | near the bottom, and I am going to
call this thing dust finder, and click OK.
| | 02:53 | And now I will go ahead and crank that
Threshold level value all the way up to 255.
| | 02:58 | So what I'm saying is unless it's
absolutely white, unless the pixel in the
| | 03:02 | image is absolutely white, it's
going to appear black, thanks to this
| | 03:06 | Threshold Adjustment.
| | 03:07 | Now you can click on the background
layer and get rid of all the stuff that's
| | 03:11 | appearing black that you
don't want to have black.
| | 03:14 | So let's go ahead and zoom in even
closer, I'm looking at the image at 200% and
| | 03:19 | I am going to switch over to my Eraser tool,
which you can get by pressing the E key.
| | 03:24 | And I am going to change the mode, by
default it's Brush, change it to Block,
| | 03:28 | and the Block eraser is this little
square that is always nice and sharp,
| | 03:33 | it's not going to introduce any anti-
aliasing or softness or anything along those lines.
| | 03:38 | Make sure your background color
is white, as it is in my case.
| | 03:41 | And then go ahead and paint
away that stuff near the letters.
| | 03:44 | Now you don't want paint on the
letters, by the way like that, right
| | 03:47 | there, that's a mistake.
| | 03:48 | I will press Ctrl+Z or Command+Z
on the Mac to undo that mistake.
| | 03:52 | And just go ahead and paint away the
most obvious stuff you can get really
| | 03:56 | close in between the letters like so, for example,
I can click here between u and the n and the.
| | 04:01 | And then I could Shift+Click right about
there in order to erase in a straight line.
| | 04:06 | But it's not actually necessary that you get
rid of every single snivel inside the image.
| | 04:11 | It's okay if you leave a few behind,
but you want to get rid of as much as
| | 04:15 | possible here, and if you feel like
you need to work more quickly, by the way
| | 04:19 | notice, you can zoom out from the
image like so, really far in fact, and your
| | 04:24 | cursor stays the same size relative
to the screen, but it's much larger,
| | 04:28 | relative to the image and that allows
me to paint big huge swaths away like so,
| | 04:33 | if I want to, that's one
way to get rid of them anyway.
| | 04:36 | I could also select them with a
Lasso tool and get rid of them that way.
| | 04:39 | So I will go ahead and paint these
things away, the problem with being this far
| | 04:43 | away from the image is that, of course,
you can't really see the very tiny
| | 04:47 | problems, anyway, so I will go ahead
and zoom back in, so that I can see
| | 04:50 | everything that there is, and I'm once
again looking at the image at 200%, I
| | 04:53 | will go ahead and click inside the a,
to get rid of that little thing, paint
| | 04:58 | below the a, paint between the a and
the out like so, paint above the f, there
| | 05:02 | is some stuff going on above the k,
between the i and the k as well down here
| | 05:06 | below, your results will vary
depending on how you're working.
| | 05:10 | Just give it some patients of course;
| | 05:12 | you have to get rid of as
much as possible after all.
| | 05:15 | And that looks pretty good, there
is that little guy over there on the
| | 05:18 | left-hand side and otherwise I think, I've
done a pretty good job of it, it looks all right.
| | 05:24 | Okay, now we need to figure out what
ought to be absolutely black, because if
| | 05:29 | you turn off that dust
finder a layer for a moment.
| | 05:31 | You can see that we are missing some
details inside the k and inside of some of
| | 05:37 | the other letters as well, for example,
inside the u because that's where the
| | 05:40 | creases occurred when this
piece of paper got folded.
| | 05:43 | So go ahead and turn that dust finder
layer back on double-click on it in order
| | 05:47 | to bring up the Adjustments panel and
crank the Threshold level value down to 1
| | 05:51 | this time, all the way the other
direction, and now you can see what ought to be
| | 05:56 | black very easily, then click on the
Background layer to make it active again,
| | 06:00 | press the X key to swap your
foreground and background colors.
| | 06:03 | So the background color is black and
then paint in black using the eraser.
| | 06:08 | And notice that we've got some problems
down here at the bottom of the n, those
| | 06:12 | need to be painted away like so.
| | 06:15 | And it looks like I still have some
problems here and there around that g possibly.
| | 06:20 | So I will press X key in order to paint
those guys away, like so, and then press
| | 06:25 | the X again in order to once again
paint with black, because the eraser tool
| | 06:29 | always paints with the background color.
| | 06:31 | Paint in the f a little bit, we've got some
major problems inside the k region right here.
| | 06:37 | And down to the bottom of the k as well,
paint that guy away, paint this guy in,
| | 06:43 | and otherwise, I think this looks
pretty good, it looks like we have a problem
| | 06:47 | towards the top of the a.
| | 06:48 | Again, you are just trying to do your
best way this is concerned, you don't need
| | 06:52 | to micromanage things too much, so it
doesn't have to be perfect, because a lot
| | 06:56 | of these problems will ultimately get
reconciled away, although, I am seeing
| | 07:00 | right here a detail that I want to fix.
| | 07:03 | All right that looks pretty good to me.
| | 07:04 | I am going to go ahead and press Ctrl+0
and Command+0 on the Mac, to zoom on out.
| | 07:08 | And then you can grab that Threshold
layer and just press the Backspace key or
| | 07:12 | the Delete key on Mac to get rid of it,
because we are done with it, it was
| | 07:15 | just a measurement tool.
| | 07:17 | All right, so we've got a cleaned up logo,
it's crooked still, which is a little
| | 07:21 | bit of a problem, and we need to
figure out a way to introduce it into the
| | 07:25 | photograph, and I'll show you exactly
how that works in the next exercise.
| | Collapse this transcript |
| Comping line art against a photo| 00:00 | Alright, now that we have managed to
clean up our Line Art, how do we go about
| | 00:03 | introducing it seamlessly
into a photographic composition?
| | 00:07 | Well, that's a question I'll answer
by demonstration in this exercise.
| | 00:10 | If you're working along with me, make
sure that you have two files open, one is
| | 00:13 | called Cleaned-up logo.tif and
the other is Company candid.jpg.
| | 00:17 | We will switch back to the former;
| | 00:19 | let's introduce it into the photograph
by right-clicking anywhere inside the
| | 00:23 | image window and choosing Duplicate
layer, and then change the document from
| | 00:28 | Cleanedup-logo to Company candid.jpeg.
| | 00:30 | And I am going to call this
new layer logo and click OK.
| | 00:33 | All right, now let's
switch over to the Image file.
| | 00:36 | We have this whopping big graphic,
obviously we need to rotate and scale it.
| | 00:40 | And we are going to do so using a smart
object, because that way we will apply a
| | 00:44 | nondestructive transformation, and we
will always have access to the original
| | 00:48 | version of the scanned logo, just in
case we need to transform it further.
| | 00:52 | So with the logo layer selected, go up
to the Layer's panel fly-out menu and
| | 00:56 | choose Convert to Smart Object or if
you loaded DekeKeys, press Ctrl+Comma,
| | 00:59 | Command+Comma on the Mac, and now
we've got our smart object, so we can
| | 01:03 | transform this layer as much as we want,
without any worries about harming it.
| | 01:08 | I am going to zoom on in to 100%, so
that I can see this image up close, and I
| | 01:13 | will press Ctrl+R or Command+R on the
Mac to bring up my rulers, and I am going
| | 01:17 | to drag down a horizontal guide, and
that will help me decide exactly where the
| | 01:21 | mean horizontal is, so that I
can properly rotate this graphic.
| | 01:24 | And then, I'll go up to the Edit menu
and choose Free Transform or press Ctrl+T
| | 01:29 | or Command+T on the Mac.
| | 01:31 | And I actually need to scroll this
image up a little bit, so that I can move my
| | 01:35 | cursor outside the transformation boundary and
drag in order to rotate this logo in to place.
| | 01:41 | And I will scoot it down as well;
| | 01:42 | I am pressing the down arrow key a few
times in order to nudge that logo downward.
| | 01:46 | And it looks like I have
M more or less in place;
| | 01:48 | that is the base of the M is aligned to
the guideline, however the letters drift
| | 01:53 | down a little bit over
here on the right-hand side.
| | 01:55 | Now just so that I can really gauge
what's going on, I am going to drag down
| | 01:59 | another horizontal guide that aligns to
the top of the M like so, and then I am
| | 02:03 | going to grab that target right there,
which represents the transformation
| | 02:07 | origin, and I am going to drag it down
to the bottom left corner of the M, so
| | 02:12 | that will become my axis of rotation.
| | 02:14 | All right, now I am going to scroll
over little bit, move my cursor outside the
| | 02:18 | transformation boundary and drag up
just a little bit like so, and right at an
| | 02:22 | angle of about -7.35?,
we get the proper alignment.
| | 02:28 | All right, now I am going to press the
Enter key or Return key on a Mac in order
| | 02:31 | to apply that modification.
| | 02:33 | Now I still need to scale the logo as well.
| | 02:36 | Were this not a smart object, turning
around and then scaling after I'd rotated
| | 02:41 | the image, would amount to a
destructive modification, but thanks to the fact
| | 02:45 | that I am working with a smart object,
all I have to do to scale the logo, is go
| | 02:49 | back to the Edit menu, choose Free
Transform, and then I am going to press the
| | 02:52 | Shift key while dragging the corner
handle in order to reduce the size of the
| | 02:57 | image proportionally.
| | 02:58 | All right, I am going to go ahead and
zoom out so I can better see what I'm doing.
| | 03:00 | And I am going to drag this logo up, and I
ultimately decide to scale the logo to 32%.
| | 03:04 | So I will click on the Chain icon to
link the width and height values, and then
| | 03:09 | I will change either one to 32% like so,
and press the Enter key a couple times
| | 03:13 | in order accept that change.
| | 03:15 | All right, we no longer need the ruler,
so I will press Ctrl+R or Command+R on
| | 03:18 | the Mac to get rid of them.
| | 03:20 | We don't need the guides anymore either;
| | 03:21 | they were just there to help us rotate the logo.
| | 03:24 | So you can go up to the View menu and
choose Clear Guides to get rid of them.
| | 03:27 | And finally, somehow we have to
composite this logo against the
| | 03:33 | photograph, obviously, we still
have that white paper in the background
| | 03:36 | and that's a problem.
| | 03:37 | Now you might reasonably think that
what you have to do is somehow mask this
| | 03:41 | logo, which would be kind of a pain in
the neck, because not only do you have
| | 03:45 | the blacks and whites, but you got a
lot of grays that are left over from the
| | 03:48 | half toning and this thing looks ratty
enough up close, we don't need to make it
| | 03:52 | any worse, but turns out, you don't.
| | 03:55 | The great thing about Blend Modes is
that there is always a blend mode to knock
| | 04:00 | out one of three luminance levels,
you can always knock out white, you can
| | 04:04 | always knock out black, and you
can always knockout medium gray.
| | 04:08 | The Darken modes always knockout white,
the Lighten modes always knockout black,
| | 04:13 | and the Contrast modes, always knockout gray.
| | 04:16 | So what we are going to do, because we
want a knock out white, we are going to
| | 04:19 | apply a Darken mode and the best of the
darkening modes, the when in doubt mode
| | 04:23 | is Multiply, and notice it does the trick,
just like that, we completely get rid
| | 04:28 | of those whites, we keep every single
one of the blacks, we also merge all the
| | 04:33 | gray values into the background.
| | 04:35 | It's a miracle where this
kind of work is concerned.
| | 04:37 | Okay, I will press Ctrl+0,
Command+0 on a Mac to zoom on out.
| | 04:41 | Now I will go ahead and position this
guy where I want it to be by Ctrl+Dragging
| | 04:44 | or Command+Dragging the layer,
and that looks pretty good to me.
| | 04:47 | Now it's not perfect, if you zoom on
in, you will see that we do have a few
| | 04:52 | ratty edges, but given that we started
with this in the first place, I think
| | 04:57 | that the result looks pretty
fantastic, and you might imagine, if you
| | 05:00 | started with better Line Art in the
first place, you are going to get even
| | 05:03 | more impeccable results.
| | 05:06 | And that's how you burn Line Art
into a photographic background using
| | 05:10 | the Multiply Mode.
| | Collapse this transcript |
| Colorizing comped line art| 00:00 | All right, now let's say I am so darn
proud of this composition, that I want to
| | 00:04 | go ahead and add a digital signature.
| | 00:06 | And not only do I want to take that
signature which itself is another piece of
| | 00:10 | line art and merge it against the
composition, which is of course just a matter
| | 00:15 | of applying the Multiply mode, but
I also want to assign it some color.
| | 00:19 | So I want to colorize the signature
after the fact, which presents a little bit
| | 00:23 | of a problem as you will see.
| | 00:24 | So have saved my progress as, Logo on
group.psd found inside the 04_darken folder.
| | 00:30 | I also have opened this file called Deke
sig.tif found inside the same folder of
| | 00:35 | course, and that this is not
my legal signature by the way.
| | 00:40 | So what I would like you do with it is
right-click anywhere inside the image
| | 00:43 | window and once again, choose Duplicate
layer, and let's go ahead and change the
| | 00:48 | document to Logo on group in this case.
| | 00:51 | And I will call this new
layer signature and then click OK.
| | 00:55 | And now I will switch back to my
composition and there is the image on a new layer.
| | 01:00 | I am going to Ctrl+Drag or Command+Drag
it down to the lower right-hand corner
| | 01:04 | and zoom in on the signature as well.
| | 01:06 | Now obviously we need to drop out the
white keep the black, all you need to do
| | 01:10 | there is press Shif+Alt+M or Shift+
Option+M on the Mac in order to drop out
| | 01:14 | those whites and merge those
grays exactly in the place.
| | 01:18 | I really want to drive this point
home that you never have anything, but
| | 01:22 | absolute darkening where Multiply is concerned.
| | 01:25 | So it really is as if you took this
photograph and actually signed it, the
| | 01:30 | difference being of course that you
didn't harm the original photograph, and you
| | 01:33 | can create one signature and place that
on as many different images as you want.
| | 01:38 | All right, I am going to
zoom out just a little bit here.
| | 01:40 | And now let's say at this point I want
to give the signature a little bit of
| | 01:44 | blue in order to sort of match this guy's shirt.
| | 01:47 | And I will do that by dropping
down to the fx icon and choosing Color
| | 01:52 | Overlay, and that's going to initially change
the entire layer to red as you can see here.
| | 01:57 | First thing we need to do is
style in a different color.
| | 01:59 | So click on the color swatch to
bring up the color picker dialog box and
| | 02:03 | then you can click somewhere inside the
image window in order to lift the sample blue.
| | 02:08 | And in my case, I am going to change
this Hue value to 215 let's say, crank the
| | 02:12 | Saturation value up a 100, and
take the Brightness value down to 25%.
| | 02:18 | So we have a nice rich
blue to work with, click OK.
| | 02:20 | All right, how we merge that blue into
the signature, well, you can go ahead and
| | 02:27 | try the Multiply mode if you want to
just to get a sense of what's going on, but
| | 02:30 | that's exactly the opposite of
the effect that we are looking for.
| | 02:34 | We are burning the blue into the
signature, so as a result the signature gets
| | 02:37 | even darker and now we are seeing the
paper which was initially white, turned
| | 02:41 | dark blue, and we can of course
see the edges of our Line Art.
| | 02:45 | What we want is the opposite effect,
and we are going to be discussing this
| | 02:49 | Blend Mode in lots of detail in the
very next chapter, however, the opposite
| | 02:54 | of Multiply is green.
| | 02:56 | If you're struggling to try to figure
out exactly which blend mode to work with,
| | 03:00 | and you're not sure if you need to
darken or lighten or what you need to do,
| | 03:03 | starting with Multiply is never a bad idea.
| | 03:06 | If there is a blend mode, that
is the most useful blend mode in
| | 03:08 | Photoshop, that's it.
| | 03:10 | And then, of course, if you discover, gosh!
| | 03:12 | I want the opposite effect, then
just go ahead and switch to Screen;
| | 03:16 | Screen is the opposite of Multiply.
| | 03:18 | And notice as soon as I apply the
Screen Mode, I end up brightening the
| | 03:23 | letters as you can see.
| | 03:24 | So instead of black as they were before,
I'll turn off Color Overlay just for a
| | 03:28 | moment, so you can see the difference.
| | 03:29 | There are the black lines and these
are the lighter blue lines, they are
| | 03:34 | still very dark of course, they look as if
perhaps they were drawn with a ballpoint pen.
| | 03:37 | But if you zoom in, which you can do
when the Layer Style dialog box is open by
| | 03:43 | Ctrl+Clicking or Command+Clicking on the
Mac, you'll see that we've got a little
| | 03:47 | bit of an edge going on right there
around the perimeter of the layer, and
| | 03:52 | what's happening here is, we're
applying this Blend Mode the Screen Mode with
| | 03:56 | its blue, after we've
gotten done applying Multiply.
| | 04:01 | So as a result, we are using the blue to
lighten the guy's shirt and that is not what we want.
| | 04:06 | Here is how you solve this problem;
| | 04:08 | you click on Blending Options right
there in order to switch to the Advanced
| | 04:12 | Blend Settings here inside this dialog
box, which we will be discussing in more
| | 04:16 | detail in a future chapter.
| | 04:18 | And here's the guy we are looking for,
the very first checkbox notice that it
| | 04:21 | says Blend Interior Effects as Group.
| | 04:24 | What that means is we'll take a Color
Overlay effect, we will blend it first
| | 04:28 | into the Line Art, which will lighten
the signature and it will do nothing to
| | 04:32 | the background, because Screen is a
brightening mode, it cannot do anything to white.
| | 04:37 | Then we'll go ahead and apply the Multiply
Blend mode to the entire composite layer.
| | 04:43 | And all you have to do to make that
happen is turn on this checkbox, watch what
| | 04:46 | happens to the perimeter, that
area of bright blue right there.
| | 04:49 | As soon as I turned the
checkbox on, it absolutely goes away.
| | 04:52 | So that's all there is to that, then
click OK in order to accept that modification.
| | 04:57 | All right, I am going to press Ctrl+0
or Command+0 on a Mac in order to zoom on
| | 05:01 | out, and that for instance is how you
introduce and colorize a piece of Line Art
| | 05:06 | against the photographic background,
using a combination of Multiply and Screen
| | 05:11 | working together, here inside Photoshop.
| | Collapse this transcript |
| Masking with a darken mode| 00:00 | All right, now let's see a
compositional application of a Darken Blend Mode.
| | 00:04 | We are going to take this last version
of the model, Linear Burned against the
| | 00:07 | marble background and we're going to
mask her, so that she doesn't have any of
| | 00:11 | that marble texture running through
her face or skin tones, and it's an easy
| | 00:16 | mask to create, thanks to the fact
that we have an underlying layer of
| | 00:19 | darkening to work with. All right!
| | 00:21 | I have saved this version of the
image as Linear burn.psd, found inside the
| | 00:25 | 04_darken folder, and I am going
to go ahead and turn off that Levels
| | 00:29 | adjustment layer for now, we'll come
back to it and then click on the model
| | 00:32 | layer in order to select it, and I'll
press Ctrl+J or Command+J on the Mac in
| | 00:36 | order to jump it to a new layer.
| | 00:38 | And I'll go ahead and return this
layer to the Normal Blend Mode by pressing
| | 00:41 | Shift+Alt+N or Shift+Option+N on the Mac.
| | 00:44 | Now we need to mask away the
background, it's a flat light background.
| | 00:48 | So it's pretty easy to do, by going up
to the Select menu and choosing the Color
| | 00:50 | Range command or if you loaded
DekeKeys, you can press Ctrl+Shift+Alt+O or
| | 00:51 | Command+Shift+Option+O on the Mac.
| | 00:52 | Now I'm going to click in the
background and Shift+drag around in various
| | 00:53 | locations in the background, just to
make sure I have the entire thing selected.
| | 01:18 | A Fuzziness value of 40 is just fine.
| | 01:19 | I'm assuming that your
Invert checkbox is turned off.
| | 01:20 | Then go ahead and click OK
to select that background.
| | 01:21 | We are selecting into the
skin as well, that's okay.
| | 01:22 | All right, now let's apply that
selection as a mask by dropping down to the Add
| | 01:23 | Layer Mask icon at the bottom of the
panel and Alt+Clicking or Option+Clicking
| | 01:26 | on it, and I pressed Alt or Option,
because I want to mask away the background,
| | 01:29 | as opposed to keeping it.
| | 01:31 | Now notice that I've masked away her
forehead and parts of the left hand side of
| | 01:35 | her face and neck as well.
| | 01:37 | That's a problem that we can
address very easily by Alt+Clicking or
| | 01:40 | Option+Clicking on the Layer Mask
thumbnail, so we can see the mask
| | 01:43 | independently of the rest of the image.
| | 01:45 | Then I am going to switch to the Brush Tool,
which you can get by pressing the B key.
| | 01:48 | I'll right click inside the Image
window in order to bring up the Brush panel.
| | 01:53 | Notice that my Size value is set to 250
pixels, that doesn't really matter that
| | 01:56 | much, what does matter is that the
Hardness is set to 0%, that's what we want.
| | 02:01 | So I'll go ahead and press the Enter
key or the Return key on the Mac in
| | 02:04 | order to accept that.
| | 02:05 | I need to make sure that my foreground
color is set to white, which it is and
| | 02:08 | I'll change the Mode from Normal to
Overlay, because we're going to be doing
| | 02:13 | that overlay paining trick that allows
us to paint away the whites, while at the
| | 02:17 | same time protecting the blacks.
| | 02:18 | All right, now I'll paint inside of the
mask like so, and down here around the
| | 02:24 | neck as well and into the shoulders
in order to tighten up those edges.
| | 02:28 | All right, now I need to paint away
the stuff inside of her face and down
| | 02:31 | here along her neck.
| | 02:32 | So I'll switch back to the Normal
mode just by pressing Shift+Alt+N or
| | 02:36 | Shift+Option+N on the Mac and because
the Brush Tool is selected, that changes
| | 02:40 | the mode for the brush as opposed to the layer.
| | 02:43 | Then I need to right click inside the
Image window and crank the Hardness value
| | 02:46 | up 100%, and I'll paint away these
areas like so, and so, I don't want to paint
| | 02:52 | next to the edge, just near it, in
order to get rid of all those details.
| | 02:56 | All right, now I need to firm up
the blacks in the background, so I'll
| | 02:59 | right-click in the Image window and
restore the Hardness to 0% and press the
| | 03:04 | Enter key a couple of times, the Return
key a couple of times on the Mac, press
| | 03:07 | the X key in order to change the
foreground color to black, and then I need to
| | 03:12 | change the Mode back to Overlay, which
you can do by pressing Shift+Alt+O or
| | 03:17 | Shift+Option+O on the Mac.
| | 03:19 | And again, because the Brush Tool is
active, that changes the mode for the
| | 03:22 | brush, not the layer.
| | 03:24 | Now I'll go ahead and paint along the
sides of the hair and the neck and down
| | 03:27 | here along the shoulder region.
| | 03:29 | We've got some areas over on this side
that need to be painted to black as well,
| | 03:33 | and that finishes off our mask.
| | 03:35 | It's pretty much that easily done.
| | 03:37 | Go ahead and Alt+Click or Option+Click
on the Layer Mask thumbnail in order to
| | 03:41 | return to the full color composite image.
| | 03:43 | All right, now at this point, it
looks like we have some pretty brutal
| | 03:46 | transitions around the left side of the
hair, as well as the right side of the
| | 03:50 | hair, her ear is too bright, and so we
need to mask some of those details away,
| | 03:55 | and I'll show you how that
masking works in the next exercise.
| | Collapse this transcript |
| Refining a mask with Multiply| 00:00 | All right, now at this point we have a
pretty good mask, but it's not sensational.
| | 00:05 | We do have some brittle
details around the edges here.
| | 00:08 | I'm not altogether convinced that she
really belongs against this marble background.
| | 00:12 | So what we're going to do is darken up
some of the edges and we can't do that
| | 00:16 | because we have this dark version of the
model right here in the background, and
| | 00:21 | as a result we can adjust our mask to
reveal portions of that darkened image.
| | 00:26 | And as you'll see this adjustment
once again relies on a darkened mode.
| | 00:30 | I've saved my progress as Base mask.psd,
it's found inside the 04_darken folder.
| | 00:35 | And what we're going to
do is blur the mask inward.
| | 00:38 | We're going to make sure it blurs
inward only, thanks to the Multiply mode.
| | 00:43 | But before we go changing our mask
because this will be a destructive
| | 00:46 | modification at least in so far as the
mask is concerned, I suggest we save it
| | 00:51 | out as an alpha channel.
| | 00:52 | So switch over to the Channels panel
and grab that layer mask right there and
| | 00:56 | drag it onto the little page icon at
the bottom of the panel to make a copy of
| | 01:00 | it and then let's go ahead and name
this copy original and now we've got it
| | 01:04 | saved, so we can always
come back to, if we need to.
| | 01:07 | All right, now switch back to the
RGB image once again, switch to the
| | 01:11 | Layers panel as well, and then click
on the layer mask thumbnail to make
| | 01:14 | sure it's selected.
| | 01:15 | Go up to the Filter menu and choose
Blur and then choose Gaussian Blur, and I'm
| | 01:20 | going to apply a big helping of blur
and we can get a sense of what's going on
| | 01:24 | by clicking along one of the edges here.
| | 01:27 | And notice that I've taken the Radius
value up to 20 pixels, and I can see the
| | 01:31 | results of that radius
here inside the dialog box.
| | 01:34 | I'll go ahead and click OK in
order to accept that change.
| | 01:37 | Now notice, if you zoom-in here, you can
see that the blur is going both directions.
| | 01:42 | It's not only blurring into the model,
it's also blurring outward, and as a
| | 01:46 | result, she has the effect of a kind of
a halo, surrounding every portion of her
| | 01:50 | face and hair and so forth.
| | 01:52 | So to eliminate that halo, you go up
to the Edit menu and you choose Fade
| | 01:56 | Gaussian Blur or you can press
that keyboard shortcut Ctrl+Shift+F,
| | 02:00 | Command+Shift+F on the Mac and
let's go ahead and switch the blend mode
| | 02:04 | from Normal to Multiply.
| | 02:07 | So we're switching the mode applied to
that blur after the fact, and notice now
| | 02:11 | that we've lost the halo, but we're
keeping the blur, it's just that it
| | 02:15 | exclusively extends inward.
| | 02:17 | Now click OK in order to accept that change.
| | 02:20 | All right, now let's go ahead and
zoom back out by pressing Ctrl+0 or
| | 02:24 | Command+0 on the Mac.
| | 02:25 | Few more modifications need to be made.
| | 02:27 | Her ear is still a little bit bright it
seems to me and we still have a little
| | 02:30 | bit of brightness around her hair.
| | 02:32 | So I'm going to scroll down just a
little bit, so that I can see the top of the
| | 02:36 | image, and I'm going to switch
over to my Brush Tool once again.
| | 02:39 | And I'm going to right-click inside the
image window, just to confirm that the
| | 02:42 | Hardness is set to 0%, which it is.
| | 02:45 | I want you to restore the Mode back
to Normal by pressing Shift+Alt+N or
| | 02:49 | Shift+Option+N on the Mac.
| | 02:51 | We're just going to hand paint some of
the mask away with a fuzzy brush, which
| | 02:55 | is not normally something I recommend
you do, if you are trying to create a
| | 02:58 | precise mask, but in this case because
we have that Linear Burn version of the
| | 03:03 | model in the background,
we've got a lot of latitude.
| | 03:05 | So I'll go ahead and turn that model
layer back on, make sure the layer mask is
| | 03:08 | selected as it is, increase the size of
my brush by pressing the right bracket key
| | 03:13 | [ a couple of times, and then just spot click here and there
around the left side of the hair in order to paint it dark, like so.]
| | 03:13 | And then I'll do the same thing over
here on the right side of the hair and into
| | 03:24 | the ear as well, in order to paint
some of those details away and reveal the
| | 03:29 | dark version of the model in the background.
| | 03:31 | Now I've probably gone too far.
| | 03:33 | As you can see here, it looks like
she's got a scratch on her right cheek and
| | 03:37 | what that is, if I turn that model
layer off, that's a bit of the marble
| | 03:41 | showing through her flesh.
| | 03:43 | So I need to mask that detail back in,
by turning that layer back on, reducing
| | 03:47 | the size of my brush by
pressing the left bracket key
| | 03:53 | [, switching the mode back to Overlay by pressing Shift+Alt+O or Shift+Option+O on the Mac, changing the foreground color to white, by pressing the X key,
and then I'll go ahead and paint inside that cheek and you can see that that scratch or whatever it might end up looking like, disappears.] All right!
| | 03:53 | Let's go ahead and zoom back
out in order to take in the image.
| | 04:09 | Now if we didn't have that dark model
in the background, notice, if I turn that
| | 04:13 | layer off we're seeing all
kinds of problems with the mask.
| | 04:17 | The mask is not anything to write home about.
| | 04:19 | However, that's okay.
| | 04:21 | As long as the composition looks good
that's all that really matters, but we do
| | 04:24 | have a little bit of a problem there.
| | 04:26 | It looks like I've got little
bit of marble coming into her ear.
| | 04:29 | So I'm going to click to try to paint
some of that away, maybe some of this
| | 04:32 | stuff up here as well. All right!
| | 04:34 | Press Ctrl+0, Command+0 on the Mac to zoom-out.
| | 04:37 | Now the final step is to make her
look more at home in her background.
| | 04:40 | So I'm going to go ahead and press the
M key to switch back to my Rectangular
| | 04:43 | Marquee Tool and I'm going to
turn on that adjustment layer.
| | 04:46 | Notice, it's not doing anything
right now, because I didn't make any
| | 04:49 | modifications to the adjustment.
| | 04:51 | I'm going to rename the layer however
deepen, and I'm also going to press the
| | 04:55 | Alt key or the Option key on the Mac
and click that horizontal line between
| | 04:59 | those two layers in order to clip
the adjustment inside of the model.
| | 05:03 | And then I'm going to change the blend
mode assigned to the adjustment to none
| | 05:08 | other than Multiply, in order to go
ahead and multiply her into herself.
| | 05:13 | So even though the adjustment is
entirely empty, we are creating a much darker
| | 05:16 | version of the model, that's too dark however.
| | 05:19 | So I'll press the Esc key to
deactivate the blend mode and I'll press the 5
| | 05:23 | key to reduce the Opacity value to 50% and
that is the final version of the masked model.
| | 05:29 | It goes lickety-split, thanks to the
fact that we're masking on top of a
| | 05:33 | darkening layer here inside Photoshop.
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|
|
5. The Lighten ModesLighten vs. Lighter Color| 00:00 | In this exercise we're going to take a
look at the two simplest Lighten modes,
| | 00:04 | which are Lighten and Lighter Color.
| | 00:06 | Currently I have the night layer
turned on here inside the Layers panel, I'm
| | 00:10 | also going to turn on the
hoody layer and click on it.
| | 00:13 | Now notice that this image is set
against the black background, but the
| | 00:16 | background doesn't extend all
the way to the left-hand side.
| | 00:20 | If I go ahead and grab my Magic Wand
Tool just so I can task what's going
| | 00:24 | on inside this layer.
| | 00:25 | And then I set my Tolerance value to 0,
Anti-alias is turned off, and Contiguous
| | 00:29 | is turned on, then I'll click inside the
background to the left of this fellow's
| | 00:33 | hood and you can see that I'm selecting
the entire background which tells me it
| | 00:37 | is one continuous color.
| | 00:39 | If I press the I key to switch to the
eyedropper and then click inside that
| | 00:43 | area, the color panel is telling me
that this is absolute black, which means
| | 00:48 | that if I apply a Lighten mode to this
layer, any of the five lighten modes in
| | 00:52 | fact, then this background is
going to entirely disappear.
| | 00:56 | So I'll go ahead and press Ctrl+D,
Command+D on the Mac to deselect the image.
| | 01:01 | And now I'm going to change the Blend
Mode from Normal to Lighten, and you can
| | 01:04 | see that in fact that background
entirely disappears and the significance is
| | 01:09 | that we don't have any edge along
the left-hand side of this layer.
| | 01:12 | All right, now as you may recall from
my discussion of darken versus darker
| | 01:15 | color, the difference is that
darken for example is applied on a
| | 01:20 | channel-by-channel basis, but darker
color is applied to the composite image.
| | 01:25 | The same is true of
lighten versus lighter color.
| | 01:28 | So in a case of lighten we're seeing
Photoshop keep the pixel in the active
| | 01:32 | layer if it's lighter than the pixel
behind it on a channel-by-channel basis,
| | 01:37 | which means that we end up achieving a
little bit of a transition here inside
| | 01:41 | the composite full-color preview.
| | 01:42 | But again if you were to go to the
Channels panel and check things out then you
| | 01:46 | would see that we have some stark
transitions in the Red channel, equally stark
| | 01:50 | transitions in the Green channel, and
stark transitions in the Blue channel.
| | 01:54 | The reason they end up reconciling
fairly smoothly in a composite is because
| | 01:59 | those transitions are different in
each and every one of the channels.
| | 02:03 | Compare that to, if I were to switch
back to the Layers panel and change the
| | 02:06 | Mode from Lighten to Lighter Color.
| | 02:09 | In this case we end up with some very
sharp transitions, either a pixel is on
| | 02:15 | or it's off, because the blend mode is applied
in exactly the same way to each and every channel.
| | 02:21 | So that's how Lighten and Lighter Color work.
| | 02:24 | In the next exercise, I'll show you
how to use the Lighten mode to achieve
| | 02:27 | a filtering effect.
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| Creating filter effects with Lighten| 00:00 | In this exercise I'll show you how to
use the Lighten mode to achieve a quick
| | 00:03 | and dirty filtering effect.
| | 00:05 | I've restored the saved
version of Lighten demo.psd.
| | 00:09 | Let me go ahead and turn on the gang
layer here and click on it to make it active.
| | 00:13 | And then because we want to apply
some smart filters, let's convert it to a
| | 00:17 | smart object, by going up to Layers
panel fly-out menu and choosing Convert to
| | 00:21 | Smart Object or if you loaded my
DekeKeys shortcuts, you can press Ctrl+,.
| | 00:25 | Next I'm going to go on to the Filter
menu, choose the Sharpen command and then
| | 00:29 | choose Smart Sharpen.
| | 00:31 | And I'm going to apply something
of an over-the-top effect here.
| | 00:34 | I've cranked the Amount value as you
can see up to 500%, and I've taken the
| | 00:38 | Radius value up to 10 pixels and
set the Remove option to Lens Blur.
| | 00:43 | More Accurate is turned off;
| | 00:45 | I'll go ahead and click the OK
button in order to apply that filter.
| | 00:49 | Now let's modify the Blend settings by
double-clicking on the little slider icon
| | 00:52 | over here to the right-hand
side of the word Smart Sharpen.
| | 00:56 | And I'm going to switch the Mode from
Normal to Lighten so that we're keeping
| | 00:59 | the sharpening effect exclusively where
it's brighter than the original image.
| | 01:04 | Now I'm going to take the Opacity
value down to 25% in order to settle that
| | 01:09 | effect down, so that we don't have
too much in the way of blown highlights.
| | 01:13 | Now I'll click OK in order to accept
that effect, and just to give you a sense
| | 01:16 | of what's going on here, I'm going to
zoom in on the image so that we're seeing
| | 01:20 | it at the 100% view size.
| | 01:22 | And I'll turn off this Smart Sharpen
filter, so that's the appearance of
| | 01:25 | the original image.
| | 01:27 | If I were to press Ctrl+Z or Command+Z
on the Mac, now we'll turn the filter
| | 01:31 | back on and you can see
what the image looks like now.
| | 01:33 | All right, I'm going to get rid of that
Filter Mask by right clicking on it and
| | 01:37 | choosing Delete Filter Mask.
| | 01:38 | Now let's turn these guys into kind of
ghost gangsters if you will, by going up
| | 01:44 | to the Filter menu, choosing Blur,
and then choosing Gaussian Blur.
| | 01:48 | Now I'm going to crank the Radius
value up to 20 pixels, we're just going to
| | 01:52 | blur the heck out of
these guys and then click OK.
| | 01:56 | And now as you might predict, I'll go
ahead and double-click on the slider icon
| | 01:59 | to bring up the Blending Options dialog
box and I'll change the Mode once again
| | 02:03 | from Normal to Lighten, so we end up getting the
ghosting effect you see here. Now I'll click OK.
| | 02:09 | Now I feel like the effect is a little
tight, in other words it's filling in a
| | 02:13 | lot of the shadow details
inside of these gentlemen's faces.
| | 02:16 | So I'm going to double-click on the
words Gaussian Blur to revisit the Gaussian
| | 02:20 | Blur dialog box, and I'm going to
crank the Radius value up to 66 pixels and
| | 02:26 | then click OK in order to accept that effect.
| | 02:29 | And now we have the ghost gangsters,
once again, if I click on the eyeball in
| | 02:33 | front of the Smart Filters then we'll
see the original version of this layer.
| | 02:37 | If I turn the Smart Filters back on,
then we can see the ghosting effect
| | 02:41 | achieved, as I say very simply, using a
couple of filters and the Lighten blend mode.
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| The Screen and Dodge modes| 00:00 | In this exercise we'll take a look at
the more robust lightning modes which
| | 00:04 | include screen which is your Go To mode
where lightning is concerned as well as
| | 00:09 | the two Dodge modes, Color
Dodge and Linear Dodge add.
| | 00:13 | And I'm going to go ahead and zoom in
on the image so that we can see it at
| | 00:16 | the 100% view size.
| | 00:18 | And I'll switch the Blend Mode from
Normal to the first of the light modes,
| | 00:22 | Lighten, and you can see that we
end up keeping the lightest pixel on a
| | 00:26 | channel-by-channel basis which ends up
creating some fairly harsh transitions in a few spots.
| | 00:32 | So some of the pixels end up remaining
entirely opaque, other pixels drop away
| | 00:37 | entirely to transparency and then
there's a variety of pixels that get along
| | 00:42 | differently on a channel-by-channel basis.
| | 00:44 | Compare that to what happens when we
switch to the Screen Mode, which I'm
| | 00:48 | going to do by pressing Shift+Plus,
because Shift+Plus always advances to the
| | 00:52 | next mode in the list.
| | 00:53 | And notice that now we get a uniform
brightening mode, we're not left with
| | 00:57 | any harsh transitions.
| | 00:59 | The only color that drops out
entirely is the black of the background;
| | 01:03 | otherwise even very dark colors
brighten with white brightening absolutely.
| | 01:08 | Now because of the underlying math
associated with screen, you don't end up
| | 01:12 | getting any clipping.
| | 01:13 | Nothing clips to white in other words,
unless it was already clipped to white in
| | 01:17 | one of the blended layers.
| | 01:19 | And in our case what that means is we
create this nice uniform ghosting effect.
| | 01:24 | I'm going to zoom back out by
pressing Ctrl+0 or Command+0 on the Mac, and
| | 01:29 | for the moment I'm going to turn off that gang
layer and click on the night layer down below.
| | 01:33 | And notice if I turn that layer off
there is another layer below it, this
| | 01:37 | texture layer, and by the way, I should
say, all these photographs come from the
| | 01:41 | Fotolia Image Library.
| | 01:42 | All right, let's say we want to create
an interaction between these two layers,
| | 01:46 | I'm going to go ahead and click the
night layer to turn it on and I'll switch to
| | 01:49 | the Screen Mode, this time by using
a shortcut, which is Shift+Alt+S or
| | 01:54 | Shift+Option+S on the Mac, and you can
see that we end up with this wonderful
| | 01:58 | blend between these two very dark layers.
| | 02:00 | None of the luminance levels entirely
clip by the way, so the reason this moon
| | 02:04 | is so bright is because it was already
very bright in the first place, but we do
| | 02:09 | have differences between the neighboring pixels.
| | 02:11 | Well, let's compare that to what
happens if I switch to one of the Dodge modes,
| | 02:15 | and I'll do so by pressing Shift+Plus
once again, which in this case takes me to
| | 02:20 | the Color Dodge mode.
| | 02:21 | Notice now some of the luminance
levels actually settle down, some of the
| | 02:25 | intermediate colors for example.
| | 02:26 | However, we do end up with some
clipping inside of that moon, and it's
| | 02:31 | very pronounced as well.
| | 02:33 | So we have these hyper saturated
colors with big huge transitions
| | 02:37 | between neighboring pixels.
| | 02:38 | All right, I'll go ahead and zoom
out again, so we can take in the
| | 02:41 | entire composition.
| | 02:43 | It's an interesting effect;
| | 02:44 | I have to say, I will also say however
that I do not use Color Dodge on anything
| | 02:49 | resembling a regular basis.
| | 02:51 | Every once in a while I can prove to be
somewhat interesting, and because it's a
| | 02:55 | member of the Fill Opacity 8, I can
press let's say Shift+8 in order to reduce
| | 03:00 | that Fill Opacity to 80%, which
results in this extremely subtle effect here.
| | 03:05 | All right, I'm going to boost that
Fill Opacity back up by pressing Shift+0.
| | 03:10 | Now the way I work is I'll start
off with screen, see how that looks.
| | 03:16 | If I'm not satisfied with that effect,
if I feel like I need something more,
| | 03:20 | then I'll switch to the Linear Dodge mode,
which appears directly below Color Dodge.
| | 03:25 | The reason it says (Add) in parenthesis
that's actually a recent addition to the
| | 03:30 | name of that mode, it
happened a few versions back.
| | 03:32 | And the idea is Photoshop is
acknowledging the underlying math of the
| | 03:36 | mode, which is a simple function
of adding up the luminance levels,
| | 03:40 | between the blended layers.
| | 03:42 | So when I choose (Add), we're going to end
up with this more pronounced effect here.
| | 03:46 | It's a somewhat subtle difference,
although it's a big difference from Color
| | 03:49 | Dodge, here's Color Dodge, just for
the sake of comparison, and here's
| | 03:53 | Linear Dodge once again.
| | 03:55 | However, do note that we end up with
these blown highlights inside of the moon
| | 04:00 | and inside of some of the details of the clouds.
| | 04:03 | If you want to settle those
highlights back, which I do, then just remember
| | 04:08 | that Linear Dodge like Color Dodge, and
like the two Burn Modes is a member of
| | 04:13 | the Fill Opacity 8.
| | 04:14 | So if I press Shift+8, in my case, to
reduce the Fill Opacity value to 80%, I
| | 04:19 | end up regaining the lost
highlights across the board.
| | 04:23 | Now I'm going to go ahead and turn on
the gang layer, just so that we have an
| | 04:26 | interaction between all the
layers that we've modified so far.
| | 04:29 | In the next exercise, I'll show you
how to use Linear Dodge to specifically
| | 04:33 | punch up white text.
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| Blending white type, darkening shadows| 00:00 | In this exercise I'll show you a great
way to create interaction between white
| | 00:04 | text and the composition using Linear Dodge.
| | 00:07 | We'll also correct the luminance levels
for the entire composition, using Multiply.
| | 00:12 | Notice here in the Layers panel
that I have this layer called Text.
| | 00:15 | It's actually a text layer
that I converted to vector shapes.
| | 00:18 | I'm going to go ahead and click
on that layer to make it active.
| | 00:21 | Now whenever you're working with white
type, it really doesn't matter whether
| | 00:25 | you have the Normal mode
selected or one of the Lighten modes.
| | 00:28 | Notice, if I switch from Normal to say
Screen, the text looks exactly the same
| | 00:33 | as it ever did, because you can't
brighten beyond white inside of Photoshop.
| | 00:38 | So if it was already white in the first
place, it's going to stay white, subject
| | 00:42 | to any of the lighten modes.
| | 00:44 | There is an exception however, if
you work with the Fill Opacity value.
| | 00:48 | So let's say I press the Escape key in
order to deactivate the Blend Mode here
| | 00:51 | on the PC, and then I press Shift+5
to reduce the Fill Opacity to 50%.
| | 00:57 | Notice that I end up
with translucent white text.
| | 01:00 | And it looks no different by the way,
if I were to switch back to the Normal
| | 01:04 | mode, and the reason is because the
Screen mode is not part of the Fill
| | 01:08 | Opacity 8, it doesn't respond any differently
to Fill Opacity than it does to Standard Opacity.
| | 01:13 | But it's not the case however, if
you work with one of the Dodge modes.
| | 01:17 | So if I switch for example to Color
Dodge, I'm going to end up with an entirely
| | 01:22 | different effect at this low opacity
value, I'll get an even better effect, if I
| | 01:27 | press the Escape once again to
deactivate the Blend Mode and press Shift+Plus in
| | 01:32 | order to switch to the Linear Dodge mode.
| | 01:34 | And notice that we keep the whites in
the bright areas of the background and we
| | 01:39 | end up achieving other colors when the
background gets dark, and that to my eye
| | 01:43 | is exactly the kind of text
transition I'm looking for.
| | 01:46 | Now the problem at this point
compositionally anyway is that even though we
| | 01:50 | started with some very, very dark
images in the first place, we've applied
| | 01:55 | so many helpings of the lighten blend modes
that we are starting to lose our intense shadows.
| | 02:00 | So I'm going to click on this hoody
layer at the top of the stack, and then I'm
| | 02:03 | going to press the Alt key or the Option
key on the Mac, click the Black & White
| | 02:07 | icon at the bottom of the panel
and choose Brightness/Contrast.
| | 02:10 | Now I'm not going to modify the
settings of this layer so I'll just call it
| | 02:13 | dummy and click OK, and then I'll
collapse the Adjustments panel, bring back the
| | 02:18 | Layers panel, and I'm going to darken
up the overall composition by pressing
| | 02:22 | Shift+Alt+M or Shift+Option+M on the
Mac to switch to the Multiply mode.
| | 02:27 | Now even though we're not clipping
anything, because once again, Multiply
| | 02:31 | cannot clip our shadows.
| | 02:32 | I do feel like we've gone too far with
the effect, so I'll press the 5 key in
| | 02:37 | order to reduce the opacity value to 50%.
| | 02:40 | And now if I turn the layer off, you can
see how bright the composition was just
| | 02:44 | a moment ago, turn it back on,
and that brightness is settled down.
| | 02:48 | So the moral of the story here is that
you can use the when in doubt Darken mode
| | 02:52 | Multiply, in order to
correct for a blended bright image.
| | 02:56 | In the next exercise, I'll show you
how to use the Screen Mode to create a
| | 02:59 | classic double exposure effect.
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| Creating a classic double-exposure effect| 00:00 | In this exercise I'll show you how to
use the Screen Mode to create a classic
| | 00:04 | double exposure effect
between two dark photographs.
| | 00:07 | I'm going to turn the dummy layer off,
switch to the gang layer and press
| | 00:11 | Shift+Alt+N or Shift+Option+N on the
Mac in order to return to the Normal mode.
| | 00:15 | And by the way, bear in mind that all
these keyboard shortcuts assume that
| | 00:19 | you have one of the tools other than the
second group of Paint and Edit Tool selected.
| | 00:24 | Now I'm going to turn on the hoody
layer and click on it to make it active, and
| | 00:29 | let's say we want to create a double
exposure effect, between this layer and
| | 00:33 | the gang layer below.
| | 00:34 | Now we just go ahead and switch to the
Screen Mode by pressing Shift+Alt+S or
| | 00:38 | Shift+Option+S on the Mac.
| | 00:40 | Problem is of course, we've never
assembled a composition like this, with the
| | 00:44 | hoody guy's face over this hostile
middle guy in the background, so we need to
| | 00:48 | move this layer around.
| | 00:49 | I'm going to go up to the Edit menu
and choose a Free Transform command, or
| | 00:53 | press Ctrl+T or Command+T on the Mac,
then right-click inside the image and
| | 00:57 | choose the Flip Horizontal command.
| | 01:00 | And I'm going to go ahead and drag
this guy over to the left-hand side of the
| | 01:03 | composition like so, and right
about here it seems appropriate to me.
| | 01:07 | You can scale him if you want to,
you have a little bit of latitude where
| | 01:11 | this layer is concerned, but I'm not, I'm just
going to go ahead and lift him up a little bit.
| | 01:15 | So part of his eyebrows cut off there
at the top, and then press the Enter key
| | 01:19 | or the Return key on the Mac in
order to accept that modification.
| | 01:24 | It seems to me our larger hoody guy
should have a little bit of sharpening
| | 01:27 | applied to him, so I'm going to
convert him to a Smart Object.
| | 01:31 | By clicking on the Layer panel fly-out
menu and choosing the Convert to Smart
| | 01:34 | Object command and then I want to
duplicate the Smart Sharpen filter, and I'll
| | 01:38 | do so by pressing the Alt key or the
Option key on the Mac and dragging just the
| | 01:43 | words Smart Sharpen and dropping them
onto the hoody layer, and that will copy
| | 01:48 | if I go ahead and expand the layer here.
| | 01:50 | You'll see that copies the Smart
Sharpen filter without copying Gaussian Blur.
| | 01:55 | And as long as I'm here, I'll right-
click inside the Filter Mask and choose
| | 01:58 | Delete Filter Mask to get rid of it.
| | 02:01 | We do want to filter this layer just a
bit, so if the hood isn't cutting through
| | 02:06 | this guy's face, they're actually the
same guy, but one is very big and one is
| | 02:10 | small, so we don't want to hurt the small guy.
| | 02:13 | I'm going to create a layer mask by
dropping down to the bottom of the Layers
| | 02:16 | panel and clicking on Add Layer Mask, and
then I'll go ahead and grab my Brush Tool.
| | 02:22 | If I right-click inside the image
window you can see I've set this size to 400
| | 02:25 | pixels, the hardness is 0%.
| | 02:26 | I might actually go ahead and crank
that Hardness value up to say 50%, I'll
| | 02:31 | press the Enter key a couple of
times in order to hide that panel.
| | 02:34 | Maybe reduce the size of my cursor a
little bit by pressing the left bracket key.
| | 02:38 | Make sure that your foreground color is
black, which it is in my case, and then
| | 02:42 | click right about there in order to
interrupt the hoody a little bit, so it's
| | 02:46 | not cutting through the smaller guy.
| | 02:48 | And I might paint down a little bit
inside the hoody, up a little bit as well,
| | 02:52 | in order to achieve this effect.
| | 02:54 | We definitely need to bring that text
back, so we're identifying this group of
| | 02:57 | people whether they're a
band or whatever they are.
| | 03:00 | So I'm going to grab that text layer and
drag it and drop it on the top of the stack.
| | 03:05 | Now we've got some outlines that are
showing up here, that's just because
| | 03:08 | my Vector Mask is active, so I'll click on
the Vector Mask thumbnail to turn it off.
| | 03:12 | It seems to me that we're losing the
legibility of the text, and there is really
| | 03:16 | no better way to solve that problem.
| | 03:18 | Then I drop down to the fx icon and
choose Drop Shadow, and I'm going to crank
| | 03:22 | the Opacity value up to 100%.
| | 03:25 | Not too concerned about the angle, but
I'm going to take that size value up to
| | 03:29 | 15 pixels, it'll leave the distance at
five pixels, and then click OK in order
| | 03:34 | to achieve this final composition.
| | 03:37 | So all right, I'm not sure how often
you're going to want to create the classic
| | 03:40 | possibly cliched double exposure effect,
but if you do, you can grab those dark
| | 03:45 | images and blend them
together using the Screen Mode.
| | Collapse this transcript |
| Making dark line art bright| 00:00 | In this exercise I'll show you how to
take those black and white scanned line
| | 00:04 | art elements that I showed you how to
integrate in the previous chapter and
| | 00:08 | we'll turn them into bright
design elements using the Screen mode.
| | 00:12 | Over here in the Layers panel I'll
click on the signature layer which is my
| | 00:15 | signature down here in the lower right
corner and then I'll Shift+Click on the
| | 00:18 | logo layer, so they're both selected.
| | 00:20 | Now I will right-click inside the
image window and choose Duplicate Layers.
| | 00:24 | I'll change the document to Dramatic
portrait.psd and then click OK. All right!
| | 00:29 | Now let's switch over to that file.
| | 00:31 | Notice that the scanned line art
integrates seamlessly into our dark
| | 00:35 | composition, but wouldn't it be
better if the logo and the signature were
| | 00:38 | bright instead of dark.
| | 00:40 | So I'm going to start things off by
clicking on the signature layer to make it
| | 00:43 | active and then I'll go up to the
Image window, choose Adjustments and choose
| | 00:48 | the Invert command or I could just
press Ctrl+I or Command+I on the Mac, that
| | 00:52 | will go ahead and invert this layer.
| | 00:54 | Let's zoom-in on it so we
can see what we're doing here.
| | 00:56 | And now I'm going to reverse the
Blend Mode from Multiply to it's opposite,
| | 01:01 | which is the Screen mode and
we end up with this effect here.
| | 01:04 | Now the Color Overlay effect is for
the moment messing things up, so I'm just
| | 01:07 | going to turn it off.
| | 01:09 | We'll come back to it in just a moment,
but you can see just like that we're
| | 01:12 | able to turn black on white scanned
line art into line art that appears white
| | 01:18 | seamlessly integrated into a dark composition.
| | 01:21 | Let's go ahead and zoom-out once again
and I'm going to switch to the logo layer.
| | 01:25 | Now obviously I want to invert it as
well, but if I go up to the Image menu and
| | 01:29 | choose Adjustments then
Invert is not available to me.
| | 01:33 | And the reason is because I converted
this logo to a smart object, which was a
| | 01:37 | good thing however that means
it needs a special approach.
| | 01:40 | So we're going to invert it
using an Adjustment layer.
| | 01:43 | So press and hold the Alt key or
the Option key on the Mac, click the
| | 01:46 | black-white icon at the bottom of
the Layers panel and choose Invert and
| | 01:50 | I'm just going to go ahead and call this
layer invert, that part doesn't really matter.
| | 01:54 | This part does, you need to turn on
the checkbox Use Previous Layer to
| | 01:57 | create Clipping Mask.
| | 01:59 | So we're affecting the logo
layer only. Now I'll click OK.
| | 02:03 | We don't need to see the Adjustments panel.
| | 02:05 | In fact, it irritates me like crazy
that it appears and takes up so much room
| | 02:09 | when there are no options for invert.
| | 02:11 | I'll just go ahead and double-click to
the right of the word Masks to collapse
| | 02:14 | the panel, go ahead and
expand the Layers panel now.
| | 02:17 | Next, click on the logo later to make
it active and switch it for Multiply once
| | 02:21 | again to its opposite Screen and we end
up with this bright logo. So far so good.
| | 02:26 | Let's say now we want to colorize the logo.
| | 02:29 | In fact I want the logo to be
roughly the color of the models eye-shadow.
| | 02:33 | I think that look awesome.
| | 02:35 | So I'm going to go ahead and grab the
Color Overlay effect that I had applied to
| | 02:39 | signature and I'm going to drag it and
drop it onto the logo layer, which will
| | 02:43 | move it as opposed to copying it, which
because I didn't have the Alt or Option
| | 02:47 | key down it goes ahead and moves that
layer effect instead of copying it, but it
| | 02:51 | also messes things up.
| | 02:52 | So I'm going to double-click on
Color Overlay, bring up the big Layer
| | 02:56 | Style dialog box, then click on the color
swatch in order to bring up the color picker.
| | 03:00 | Click inside the bright portion of
the eye-shadow in order to lift a
| | 03:04 | representative color and I'm
going to modify my HSB value slightly.
| | 03:08 | I'm going to change that Hue value 35,
I'll also change the Saturation to 35%
| | 03:14 | and they'll take the
Brightness value up to 80% and click OK.
| | 03:18 | Now that produces exactly the
opposite of the effect I'm looking for.
| | 03:22 | We're colorizing the background
behind the scanned line art but we're not
| | 03:26 | colorizing the letters and that's
because we need to shift the blend mode from
| | 03:30 | Screen, which was previously brightening
the letters to Multiply, which will now
| | 03:35 | darken them, and that will send the
color inside those now white layers, which
| | 03:41 | is exactly what we're looking for but
we still need to drop out the background.
| | 03:46 | And we'll do that the same way we did
back in the previous chapter by clicking
| | 03:50 | on Blending Options and then turning on
that top checkbox Blend Interior Effects
| | 03:55 | as Group and that goes ahead and
multiplies the color into the scanned logo art
| | 04:01 | before applying the Screen
blend mode to the overall layer.
| | 04:05 | And as a result we drop out
that excess color. All right!
| | 04:08 | Now I'll click OK in order to accept the change.
| | 04:11 | Just the couple of more things I want to do.
| | 04:13 | I want to make this logo bigger and thanks
to the fact that it's a smart object I can.
| | 04:17 | So I'll go up to the Edit layer and
choose the Free Transform command or press
| | 04:21 | Ctrl+T, Command+T on to Mac and then I'm
going to Shift drag this corner handle like so.
| | 04:27 | I'm looking to scale this logo by 48%,
so I'll go ahead and click on the chain
| | 04:31 | between the W and H values and I'll
change the Width values to 48% and as you
| | 04:36 | can see both values change in kind and
then I'll press the Enter key a couple of
| | 04:39 | times or the Return key a couple of
times on the Mac to accept that change.
| | 04:43 | Just so you can get a sense of how
flexible these source of blended compositions are.
| | 04:48 | I'm going to turn on this magnified
layer, which is in increased resolution
| | 04:52 | detail from that original photograph
and I might go ahead and Ctrl+Drag or
| | 04:57 | Command+Drag the logo over
just a little bit as well.
| | 05:00 | In any case, that friends is how you
turn black on white line art into a
| | 05:05 | bright line art elements that integrate
seamlessly into your compositions here inside Photoshop.
| | Collapse this transcript |
| Masking with a lighten mode| 00:00 | In this exercise I'll show you one way
to create a masked composition with the
| | 00:04 | help of a Lighten Blend Mode.
| | 00:06 | Specifically we'll be taking these two
layers over here in the Layers Panel.
| | 00:10 | I got a speculator layer in front
with this model against this kind of
| | 00:13 | grunge wall background.
| | 00:15 | If I turn it off you can see that we
have this 3D data layer in the background.
| | 00:19 | I want to merge them together in
order to create this final effect here.
| | 00:23 | So it's not only a bright interaction
between the two layers but I've gone ahead
| | 00:27 | and masked the model as well so that he
is mostly opaque, not entirely because
| | 00:33 | we can see some of the lines up here
in the shoulders, but he is generally an
| | 00:36 | opaque image element.
| | 00:37 | Now the first thing I'm going to do is
turn on that speculator layer and jump it
| | 00:42 | by pressing Ctrl+Alt+J or Command+Option
+J on the Mac and I'll call the copy of
| | 00:47 | the layer normal and click OK.
| | 00:48 | Now I'm going to turn it off and by
the way these layers are currently set to
| | 00:53 | the Normal Blend Mode.
| | 00:54 | I'm going to turn that one off.
| | 00:56 | Click on the speculator layer to make
it active and I'm going to switch from
| | 00:59 | Normal to Linear Dodge in order
to create this bright interaction.
| | 01:04 | That's a little bit too much, you
can see how we are clipping some of the
| | 01:06 | highlights along the right half of his face.
| | 01:08 | So I'm going to back off the effect
by pressing Shift+5 in order to reduce
| | 01:12 | the Fill value to 50%.
| | 01:13 | Now let's turn the normal layer back on
and now the task that confronts us, now
| | 01:19 | he presents one of those classic
problems inside Photoshop where one side of him
| | 01:24 | is darker than his background, the
other side is sometimes darker but often
| | 01:29 | brighter than the background, and in
many cases there is very little in the way
| | 01:34 | of distinction between the foreground
elements and those of the background.
| | 01:38 | So there is a few different
ways we could approach this.
| | 01:40 | We did try out some calculations.
| | 01:42 | It would actually take multiple
calculations in order to select this guy.
| | 01:46 | We could try multiple passes
of the Color Range command.
| | 01:50 | But I discovered that this is one of
those lucky images that just happens to be
| | 01:55 | perfectly suited to the Quick Selection Tool.
| | 01:57 | So go ahead and grab the Quick
Selection Tool there inside the Toolbox and make
| | 02:02 | sure that the Auto-
Enhance checkbox is turned on.
| | 02:05 | I have my Brush cursor set to 30 pixels
and I'm going to go ahead and paint in
| | 02:10 | certain portions of the image like so.
| | 02:12 | So I'm starting off with the head, I
want to make sure to paint inside of the
| | 02:15 | hair as well, so I can select
as much of that as possible.
| | 02:19 | The Quick Selection Tool is not going
to do very good job of selecting into the
| | 02:23 | tendrils of hair, however, we are going to
follow this up with an application of Refine Edge.
| | 02:27 | Now let's go down the dark side of his
body over here on the left-hand side and
| | 02:32 | that ends up miraculously selecting
almost everything without jumping out of the
| | 02:37 | image as the Quick Selection
Tool is generally so fond of doing.
| | 02:41 | All right, I'm going to paint up
here into his shoulder as well.
| | 02:45 | Your selection may end up varying, so
we'll just see how things work out here.
| | 02:49 | I'm painting inside of his knuckles,
then into his thumb and that looks like
| | 02:53 | I've pretty much got everything
selected except for his collar.
| | 02:56 | So I'll just click in
there in order to select that.
| | 02:59 | This is a fairly clumsy selection so
far, but we have managed to create a
| | 03:04 | selection outline around the figure
of this man without selecting into the
| | 03:08 | background, so that's a big bonus. All right!
| | 03:11 | I'm going to switch back to the
Rectangular Marquee Tool and then I'm going to
| | 03:14 | go up to the Select menu and choose
the Refine Edge command or you can press
| | 03:18 | Ctrl+Alt+R or Command+Option+R on the Mac.
| | 03:20 | Let's go ahead and zoom in to this
guy so we can see what we are doing.
| | 03:24 | I have my View options set to On
White so I'm seeing the guy gets a white
| | 03:27 | background which makes perfect sense
because he is so dark in the first place.
| | 03:31 | And then as opposed to applying a
general amount of Edge Detection, I'm going to
| | 03:36 | use my Refine Radius Tool
to paint inside of the hair.
| | 03:40 | So I'm just going to paint around the
hair like so and he is got a lot of hair
| | 03:44 | going into that background.
| | 03:45 | It's very difficult to see
where the hair begins and ends.
| | 03:49 | That's actually kind of an advantage for
us, because it gives us a little wiggle
| | 03:53 | room during the compositing phase.
| | 03:55 | Anyway, I'm going to paint up here
over the top of his hair as well, maybe a
| | 03:59 | little bit down on the left-hand side, and
that looks like of course an absolute mess.
| | 04:04 | But it's going to resolve better
once we merge the layers together.
| | 04:07 | Now I'm going to press the Alt key or
the Option key on the Mac and drag along
| | 04:11 | the top of the hair like so in order
to bring back some of that opacity,
| | 04:15 | apparently I lost the detail right there,
so I'll click on it in order to add to
| | 04:19 | Photoshop's recalculations.
| | 04:21 | And then I'm going to paint
ever so slightly down his face.
| | 04:24 | Notice I'm just painting a little bit
outside of the face line right there,
| | 04:28 | because we had a harsh line in the first place.
| | 04:30 | And I think that's going to do us pretty well.
| | 04:32 | We have some other problems here and
there but we can solve them manually.
| | 04:35 | So I'll go ahead and click OK in
order to accept the modification to
| | 04:40 | the selection outline.
| | 04:41 | Now we need to convert the selection
into a layer mask and I'll do that by
| | 04:45 | dropping down to the Add Layer Mask
icon at the bottom of the Layers Panel and
| | 04:49 | clicking on it, which is not bad.
| | 04:51 | Now I wouldn't go so far as to say it's
altogether acceptable, which is why we
| | 04:55 | need to spend a few minutes manually
refining the mask as well as applying some
| | 04:59 | blending modifications as we
will do in the next exercise.
| | Collapse this transcript |
| Refine, filter, and blend| 00:00 | In this exercise, we're going to
finish off our composition by manually
| | 00:04 | enhancing the mask and then
applying some blending modifications.
| | 00:08 | Let's start things off by Alt+
Clicking or Option+Clicking on the Layer Mask
| | 00:12 | Thumbnail there in the Layers Panel and
I'm going to zoom in on this guy's head
| | 00:16 | and you can see that we have
some problems around his face.
| | 00:19 | So I'll grab the Brush Tool which I
can get by pressing the B key of course.
| | 00:24 | Right-click inside the Image window,
let's take that Hardness value down to 0%
| | 00:28 | and then I'm going to increase the
size of my cursor by pressing the Right
| | 00:31 | Bracket key a few times.
| | 00:33 | Press the X key to make sure my
foreground color is Black and then I'll
| | 00:37 | paint along the edges.
| | 00:39 | Made a big huge mistake, I
forgot to change the Blend Mode.
| | 00:42 | So I'll press Ctrl+Z or Command+Z on the Mac.
| | 00:44 | Press Shift+Alt+O or Shift+Option+O
in order to switch the Mode to Overlay
| | 00:49 | and then try painting again, and that
provides us with much better results of course.
| | 00:54 | Press the X key to switch the
foreground color to White and then I'm going to
| | 00:58 | paint along the eyebrow and
down here along the jaw as well.
| | 01:01 | You could expand the hair a little bit
if you want in places but I wouldn't go
| | 01:05 | too far with that, and that's about all
we're going to do with Overlay painting.
| | 01:09 | We do have some problems with the
shoulder details however, so I'm going to
| | 01:13 | Alt+Click or Option+Click to once again
switch to the composite image and then
| | 01:17 | I'm going to Shift+Click on the
thumbnail to turn the Layer Mask off.
| | 01:21 | Right-click inside the Image window,
let's take the Hardness value up to 70%.
| | 01:24 | I want a smaller cursor too, I'm going
to take that down to 20 pixels let's say.
| | 01:29 | Press the Enter key a couple of times
in order to accept that modification.
| | 01:33 | You may recall from the Fundamentals
course that you can paint inside of a layer
| | 01:37 | mask even when it's not visible.
| | 01:39 | So I'm painting with white, I'm just
going to paint down this shoulder as I see
| | 01:43 | it to about there, should do the trick
and then I'll Shift+Click in the Layer
| | 01:48 | Mask Thumbnail once again to turn it back on.
| | 01:50 | It looks like it didn't quite
get this detail as well as I like.
| | 01:53 | So I'm going to click inside of it
again in order to expand the mask and the
| | 01:57 | problem this time is I'm
painting with the Overlay Blend Mode.
| | 02:00 | I don't want that, so I'll press Shift+
Alt+N or Shift+Option+N on the Mac in
| | 02:04 | order to turn the Blend Mode
off, so I can paint normally.
| | 02:07 | I'm going to Shift+Click on that Layer
Mask thumbnail again so I can see the
| | 02:10 | original unmasked image.
| | 02:12 | Paint down the shoulder to about there.
| | 02:14 | Shift+Click in the Layer Mask
thumbnail to see what I've done and it
| | 02:17 | actually looks pretty good. All right!
| | 02:18 | I'm going to zoom out by
pressing Ctrl+0, Command+0 on the Mac.
| | 02:22 | Press the M key to switch back
to the Rectangular Marquee Tool.
| | 02:26 | This image provides us with a few challenges,
even though, I think it's a great photograph.
| | 02:32 | It's a little bit brittle.
| | 02:33 | There is a lot of noise and weird
details in the shadows, and currently the
| | 02:37 | shadows are overly dark, and I'd
like to bring some life into them.
| | 02:40 | And I'm going to do that by applying
the Shadow Highlight command as a Smart
| | 02:44 | Filter, which means I want to convert
this layer to a Smart Object but I don't
| | 02:48 | want the Layer mask to be
part of that Smart Object.
| | 02:50 | So I'm going to do that thing where I
move the layer mask to a different layer,
| | 02:54 | then with normal selected I'll go up
to the Layers Panel fly-out menu, choose
| | 02:58 | Convert to Smart Object and then move
the layer mask back on to that layer.
| | 03:04 | Now I'll click on the Layer Thumbnail
itself, the Smart Object Thumbnail and
| | 03:08 | I'll go up to Image menu choose
Adjustments and choose Shadows/Highlights, and
| | 03:13 | you can see that the default value is
bringing out all kinds of noise inside the
| | 03:17 | Shadow details of this image.
| | 03:19 | So with my Show More Options checkbox on,
I'm going to take that Shadow Amount
| | 03:24 | value down to 10%, the Tonal Width
value of 50% is fine, and I'm going to
| | 03:28 | increase the Radius like crazy to 200 pixels.
| | 03:30 | I'm going to leave the Highlight Amount
set to 0%, which means we don't have to
| | 03:34 | worry about any of the other
values and now I'll click OK.
| | 03:38 | Now we need to make sure that
this Smart Filter affects the
| | 03:40 | luminance information only.
| | 03:42 | So double-click on the Slider icon to
bring up the Blending Options dialog box
| | 03:46 | and switch the Mode from Normal to
Luminosity, that way the color goes
| | 03:51 | unmodified, then click OK in
order to accept that change.
| | 03:55 | We don't need the Filter Mask so I'm
going to right-click on it and choose
| | 03:58 | Delete Filter Mask, and I'm going
to do that using a layer effect.
| | 04:02 | So I'll drop down to the fx icon,
click on it, choose Color Overlay.
| | 04:06 | By default that's going
to turn him entirely red.
| | 04:09 | I want a sepia color, so I'm going to
click on that color swatch and I'm going
| | 04:12 | to change the H, S and B values to 25
apiece like so, that gives us a kind of
| | 04:19 | dull brown, click OK.
| | 04:21 | Change the Blend Mode to the opposite
of Luminosity which is Color, so that we
| | 04:25 | are keeping his luminance information
and just modifying the hue and saturation,
| | 04:30 | and then I'm going to take
the Opacity value down to 50%.
| | 04:32 | All right, he is looking pretty good
but because he is noisy and what I mean is
| | 04:39 | if you go ahead and zoom in here you
can see a lot of posteration going on
| | 04:43 | inside this color detail, and I
want to sort of hide that a little bit.
| | 04:48 | Now I could have found a better image
to work with in the first-place, but
| | 04:51 | oftentimes you're going to find
yourself confronted by that perfectly
| | 04:54 | acceptable photograph.
| | 04:55 | In other words, compositionally it's
great and so forth, but it's a low fragile
| | 05:00 | in places, and so here's one
way to sort of cover that up.
| | 05:03 | I'm going to press Ctrl+0 or Command+
0 on the Mac to zoom out and the first
| | 05:07 | thing I'm going to do is reduce the
Opacity value by pressing 77 in a row so
| | 05:12 | that takes the Opacity value down to 77%.
| | 05:15 | We can see through his shoulders a little bit.
| | 05:17 | I don't want to see through his
wristwatch and his elbow to the sides of these
| | 05:22 | bars, so I'm going to create a kind of
backing layer, by first Ctrl+Clicking
| | 05:28 | or Command+Clicking on the Layer Mask
thumbnail in order to load his outline as a selection.
| | 05:33 | Then I'll click of a speculator layer
to make it active and I'll create a new
| | 05:37 | layer by pressing Ctrl+Shift+N
or Command+Shift+N on the Mac.
| | 05:40 | I'll call it back and click OK.
| | 05:43 | Now I'm going to grab my Gradient Tool,
which I can get by pressing the G key
| | 05:48 | and notice my options up here,
these are all the default settings.
| | 05:51 | I'm creating a Linear Gradient, the
Mode is Normal, Opacity 100% and so forth.
| | 05:56 | I have switched the gradient style
however to the second one in, which is
| | 06:00 | Foreground to Transparent, and also very
important, my Foreground Color is set to Black.
| | 06:05 | And I'm going to drag from about the
top of his arm right here, and while
| | 06:10 | pressing the Shift key I'll end my
drag at the bottom of his chin in order to
| | 06:14 | create this backing layer that
hides the sides of those blocks.
| | 06:18 | Now I'll press Ctrl+D or Command+D on the
Mac in order to accept that modification.
| | 06:23 | Press the F key a couple of times in
order to switch to the Full Screen mode and
| | 06:27 | this is the final version
of my masked composition.
| | 06:31 | Thanks to our ability to mix layer
masking along with a member of the Lighten
| | 06:35 | Blend Mode family here inside Photoshop.
| | Collapse this transcript |
|
|
6. The Contrast ModesOverlay, Soft Light, and Hard Light| 00:00 | Over the course of this and in the next
exercise I am going to introduce you to
| | 00:04 | all seven of the contrast modes.
| | 00:06 | In this exercise, I'll start off with
the primary three modes which happen to
| | 00:11 | appear first in the list.
| | 00:12 | Those are Overlay, Soft Light and Hard
Light, all of which are designed to mimic
| | 00:17 | a combination of Multiply
and Screen, working together.
| | 00:21 | If you get a font warning when you
open this image, don't worry about it,
| | 00:24 | Photoshop will still allow you to see
the text as it was originally rendered.
| | 00:28 | Notice in the background here I have
this photograph of this pile of leaves.
| | 00:32 | So that will serve as the
backdrop for each one of our effects.
| | 00:37 | Now if I switch over to my next
layer comp, you can see for the sake of
| | 00:40 | demonstrating the Darken and Lighten
modes, I have set up two side-by-side
| | 00:44 | gradients both of which appear on
different layers you can see here, one is
| | 00:47 | called left, one is called right.
| | 00:49 | We've got a black to white gradient
over here on the left-hand side and a black
| | 00:53 | to white gradient over here in right hand side.
| | 00:55 | I'll be applying the Darken mode to the
left hand gradient and the Lighten mode
| | 00:59 | to the right-hand gradient.
| | 01:01 | Because white is always the neutral
color for any of the darken modes, that
| | 01:05 | white right in the center will drop
away and because black is always a neutral
| | 01:09 | color for any of the Lighten modes, this
black edge in the center will drop away
| | 01:14 | and as a result the two layers will
appear to seamlessly merge together.
| | 01:19 | Meanwhile, where the contrast modes are
concerned, I'll be applying them to this
| | 01:23 | large gradient that stretches across
the entire width of the image from black
| | 01:27 | over here on the left-hand side to
white over here on the right-hand side and
| | 01:31 | where all the contrast modes are
concerned, except for Hard Mix, it's the only
| | 01:35 | exception, 50% gray is a
neutral color right there dead center.
| | 01:42 | So let's see what this looks like.
| | 01:44 | In this slide, I have gone ahead
and applied the Multiply mode to the
| | 01:47 | left-hand gradient, so this left
gradient, here in the Layers panel, you can
| | 01:50 | see multiplies aside.
| | 01:52 | And then I've applied the Screen mode to
the right layer which is the right-hand
| | 01:56 | gradient and you can see the
Screen mode applied as well.
| | 01:59 | So as a result, we get a darkening
effect over here on the left and we get a
| | 02:02 | lightning effect over here on the
right and the point at which the two layers
| | 02:06 | meet up with each other, right there in
the center, that's where the luminance
| | 02:09 | levels entirely drop away.
| | 02:12 | Compare that to the Overlay mode, what
you'll hear people say about the Overlay
| | 02:16 | mode is that it's that classic
combination of Multiply and Screen.
| | 02:21 | However, if you look at Multiply and
Screen by comparison and then you look at
| | 02:26 | the Overlay mode, they
don't look very similar at all.
| | 02:28 | We do have a bit of darkening happening
over here on the left-hand side and we
| | 02:33 | have some lightning appearing over here
on the right-hand side, but it's by no
| | 02:37 | means as much as we were seeing with
Multiply and Screen. Here is the thing.
| | 02:40 | The basic blending formula associated
with Overlay is absolutely equivalent in
| | 02:46 | terms of the way it works to Multiply
and Screen and yet the reason it looks so
| | 02:50 | different is because Overlay favors the
composite background, in our case, the
| | 02:55 | leaves, over the active layer in our
case the gradient and so as a result, it
| | 03:00 | produces a muted effect by comparison
to Multiply and Screen working together.
| | 03:05 | And yet, it is the foremost of the
contrast modes, its super useful as you'll
| | 03:10 | see in future exercises.
| | 03:12 | Now if Overlay ends up being too
much and you want something that's more
| | 03:16 | subtle, then, you'll want to switch to
the next mode which is Soft Light and
| | 03:20 | notice that we have some darkening
over here on the left-hand side and some
| | 03:24 | brightening over here on the right-hand
side, but not nearly as much as we saw
| | 03:28 | a moment ago with Overlay.
| | 03:29 | You can compare that to the original image.
| | 03:32 | This is the base leaves image by itself.
| | 03:35 | Notice that things brighten
up over here on the left side;
| | 03:37 | they darken up over here on the right-hand side
because this full grad layer is now turned off.
| | 03:42 | Alright! Now by contrast,
here is the Hard Light mode.
| | 03:47 | So we are seeing an awful lot of
darkness over here on the left side and an
| | 03:50 | awful lot of the lightness
over here on right-hand side.
| | 03:54 | Now it uses exactly the same formula as Overlay.
| | 03:58 | So it's really the exact same blending
computation and yet, we end up getting a
| | 04:02 | very different result and that's
because Hard Light favors the active layer
| | 04:07 | that is the gradient instead of the
background leaves and as a result Overlay
| | 04:13 | and Hard Light are said to be commuted
versions of each other, just in case you
| | 04:17 | ever hear that term.
| | 04:18 | Now just for comparison, here
are the Multiply and Screen modes.
| | 04:22 | So a lot of darkening happening over
here on the left side, a lot of brightening
| | 04:26 | happening over here on the right-hand side.
| | 04:28 | Notice that the gradients drop away
uniformly so very smooth effects, which is
| | 04:33 | also true of the Hard Light
mode which you can see now.
| | 04:36 | So Hard Light if you were think of
anything as being the equivalent of Multiply
| | 04:40 | and Screen working
together that would be Hard Light.
| | 04:43 | If you prefer to turn the effect on
his head and favor the background image,
| | 04:47 | instead of the active layer then you
would apply Overlay and if you're looking
| | 04:51 | for something more subtle then go with
Soft Light and that in a nutshell, we'll
| | 04:55 | be seeing more of them.
| | 04:56 | But that's how the Overlay, Soft Light
and Hard Light modes work here in Photoshop.
| | Collapse this transcript |
| Vivid, Linear, and Pin Light| 00:00 | In this exercise I'll introduce you to
the next three contrast modes which are
| | 00:04 | Vivid Light, Linear Light and Pin Light.
| | 00:07 | We're looking at that combination of
Multiply and Screen that is the Hard Light
| | 00:11 | mode, as you might imagine the other
contrast modes are combinations of other
| | 00:16 | Darken and Lighten pairings.
| | 00:18 | For example, let's start with Color
Burn and Color Dodge, I've gone ahead and
| | 00:23 | assigned Color Burn to the left
hand gradient and Color Dodge to the
| | 00:27 | right-hand gradient.
| | 00:28 | We end up with these vibrant colors.
| | 00:30 | We have this smooth transition in the
middle because white drops out in the case
| | 00:34 | of Color Burn and black drops out in
the case of Color Dodge, right here in the
| | 00:38 | middle of the image.
| | 00:39 | However, we end up with a
lot of clipping as well.
| | 00:42 | Specifically, we're clipping the
shadows to black over here on the left and
| | 00:45 | we're clipping the
highlights to white on the right.
| | 00:48 | So Photoshop is seen fit to allow us to
mitigate that clipping by reducing the
| | 00:53 | Fill value as opposed to the Opacity
value which is why both of these modes are
| | 00:58 | members of the Fill Opacity Eight.
| | 00:59 | The same goes for the mode that's
based upon them which is Vivid Light.
| | 01:05 | Vivid Light is a combination of Color
Burn and Color Dodge working together.
| | 01:09 | It results in clipping as well.
| | 01:10 | We're clipping the shadows to
black clipping the highlights to white.
| | 01:14 | We can mitigate that clipping using the
Fill value and it looks like this by the way.
| | 01:19 | If I were to take that Vivid Light and
reduce the standard Opacity value to 50%,
| | 01:23 | what we are doing is we're taking the
composite effect and mixing it 50-50 with
| | 01:29 | the underlying leaves layer.
| | 01:31 | And we end up getting
this fairly drab effect here.
| | 01:34 | You may still encounter some clipping,
whereas if you reduce that Fill value to
| | 01:39 | 50%, you're left with a vibrant image
like this one here, which is exactly what
| | 01:45 | you want, out of a
contrast effect inside Photoshop.
| | 01:49 | So remember these over-the-top
effects specifically in the case of this
| | 01:52 | exercise, Vivid Light and Linear Light can
be mitigated using the Fill value. Alright!
| | 01:58 | Let's take a look at Linear by way.
| | 02:00 | First I'll show you the Linear Burn
and Linear Dodge modes as applied to
| | 02:04 | those two independent gradients, the left
and right layers here inside the Layers panel.
| | 02:09 | A lot of shadows clipping the black, a
lot of highlights clipping the white,
| | 02:13 | which is why both of these modes are
members of the Fill Opacity Eight, as is
| | 02:17 | the mode that's based on
them which is Linear Light.
| | 02:19 | So Linear Light is a combination
of Linear Burn and Linear Dodge.
| | 02:23 | Its effects can also be
mitigated by the Fill value.
| | 02:26 | So here is a comparison.
| | 02:28 | Linear Light set to a standard Opacity
of 50% ends up giving us this kind of
| | 02:33 | filmy effect as if we are
looking through a dingy window.
| | 02:37 | Whereas, Linear Light, set to a Fill
value of 50%, gives us this lustrous and
| | 02:43 | comparatively rich effect right here.
| | 02:46 | Now the final mode that I am going to
show you is actually the least of the bunch.
| | 02:50 | So imagine if you will, a
combination of the Darken modes and the Lighten
| | 02:54 | modes working together.
| | 02:55 | So in this case, I've assigned a
Darken mode that is the mode that's called
| | 02:59 | Darken to the left layer here and I
have assigned the Lighten mode as you can
| | 03:04 | see to the right layer.
| | 03:06 | What we end up getting is this sudden drop-off.
| | 03:09 | Notice that we have a bunch of blackened
darkness over here on the far left hand
| | 03:13 | side then we sort of revealed the
leaves at about this location and then the
| | 03:18 | effect entirely goes away and stays
away till about here where we get this kind
| | 03:22 | of filmy overlay and then everything goes white.
| | 03:26 | The same happens, I'm afraid, with
Pin Light which is based on Darken
| | 03:31 | and Lighten together.
| | 03:32 | So I'll tell you this is not a mode that
I use very often, it doesn't frequently
| | 03:37 | give you desirable effects.
| | 03:39 | So if you find yourself not turning to
it 99% of the time, don't be surprised.
| | 03:44 | I will tell you one last thing about Pin Light;
| | 03:45 | it is not a member of the Fill Opacity Eight.
| | 03:49 | So there is nothing you can
do to mitigate its ugliness.
| | 03:52 | In the nice exercise, I will
demonstrate that mode that may seem at first,
| | 03:56 | like the worst of the contrast modes, but
it's actually quite powerful indeed, Hard Mix.
| | Collapse this transcript |
| The amazing Hard Mix mode| 00:00 | In this exercise, we'll demonstrate
the final contrast mode, Hard Mix.
| | 00:05 | So here we are looking at the Pin Light effect.
| | 00:07 | If I move to the next layer comp, you
can see the effects of Hard Mix which at
| | 00:12 | first are truly appalling.
| | 00:14 | Now what's happening is that
Photoshop is applying the Vivid Light mode.
| | 00:18 | So Hard Mix uses exactly the same
formula as Vivid Light and then it goes ahead
| | 00:24 | and reduces the luminance levels to just
black and white on a channel by channel
| | 00:29 | basis which is why you end up getting
this highly posterized effect, where all
| | 00:33 | the pixels either turn black or they
turn white or the they turn one of the
| | 00:37 | primary colors, meaning red,
yellow, green, cyan, blue or magenta.
| | 00:42 | In our case, because we have a very
warm image, we're just left with the
| | 00:45 | yellows and the reds.
| | 00:48 | The great news is that this is the
classic Fill Opacity Eight mode, the one
| | 00:53 | that responds altogether differently to the
Fill value than it does to the Opacity value.
| | 00:58 | So first just so that you can see how
this mode compares to Vivid Light, I'll go
| | 01:03 | ahead and switch to the next slide.
| | 01:04 | This is actually the Vivid Light effect.
| | 01:07 | If I click on the full grad layer here
inside the Layers panel, you can see that
| | 01:10 | I've assigned the Vivid Light mode.
| | 01:12 | The difference between your standard
Vivid Light which looks like this and Hard
| | 01:17 | Mix is the fact that we're
thresholding the channels.
| | 01:21 | In this case, I'm using a levels
adjustment layer to reduce the colors to black
| | 01:25 | and white on a channel by channel
basis, Hard Mix does it automatically.
| | 01:29 | Anyway, I just wanted you to
see that that's how it works.
| | 01:32 | Now let's get a sense of what happens
when you reduce the opacity of the effect.
| | 01:36 | In this case we're back to using the
Hard Mix mode and I've taken the standard
| | 01:40 | Opacity value down to 50%.
| | 01:42 | So what's happening is Photoshop is
taking that composite version of the image
| | 01:47 | and mixing it 50-50 with the underlying leaves.
| | 01:51 | So this area, for example that was
formerly black at 100% opacity, is
| | 01:56 | now turning to darkness, so
that we can see some standard leave
| | 02:00 | transitions happening.
| | 02:02 | But at any point where we are
transitioning to a different color, you're going
| | 02:05 | to see posterization throughout the
composite image which is, I would think,
| | 02:11 | rarely desirable whereas if you reduce
that Fill value down to 50% instead, you
| | 02:16 | can see that we get a remarkably
different effect that's rich and vivid
| | 02:21 | throughout the composition which well,
the color saturation maybe a little bit
| | 02:25 | too much, is not a half bad effect.
| | 02:28 | Compare that to Vivid Light, set to
a Fill Opacity value of 50%, the big
| | 02:34 | difference here is that the grays drop
away and become transparent where Vivid
| | 02:39 | Light is concerned and for the matter
where any of the other contrast modes are
| | 02:43 | concerned as well, whereas if I switch
back to Hard Mix here, you can see that
| | 02:48 | even those leaves in the center of the
image are being affected by the mode,
| | 02:52 | which means that you can take the
Opacity value very low indeed where this
| | 02:56 | effect is concerned.
| | 02:58 | Here is Hard Mix, set to a standard
Opacity value of 25%, we still end up with a
| | 03:04 | drab and posterized composition, whereas
if I take Hard Mix down to a Fill value
| | 03:09 | of 25% instead, I have vibrant
colors across the entire image.
| | 03:14 | But even at a very low Fill value of 25
%, Hard Mix typically produces a more
| | 03:20 | pronounced effect than
something like Soft Light.
| | 03:23 | Notice here that we do have some
darkening on the left hand side, some
| | 03:26 | brightening on the right-hand side, the
effect drops off in the center, but we
| | 03:30 | don't have nearly that
degree of color saturation.
| | 03:34 | So really, the moral of the story is if
you want the most subtle contrast effect
| | 03:39 | possible, then you go with Soft Light,
if you want the highest impact effect of
| | 03:43 | them all, plus some intensely saturated
colors, then you'll want to go with Hard
| | 03:47 | Mix subject to a reduced Fill value.
| | Collapse this transcript |
| Two variations on a single mode| 00:00 | In this exercise we'll see how Overlay
and Hard Light are actually variations on
| | 00:05 | the very same blend mode, it's just a
matter of which layer is in front, and
| | 00:09 | I'll show you something you can
do with that information as well.
| | 00:12 | We've got this portrait shot on top,
and then below that this sort of cave
| | 00:16 | wall in the background.
| | 00:18 | All right, I'm going to go ahead and
turn the portrait back on, I should know
| | 00:21 | that both of these images come from a
Fotolia Image Library, about what you can
| | 00:25 | learn more at fotolia.com/deke.
| | 00:26 | Now I'm going to go ahead and change
the blend mode associated with that
| | 00:31 | portrait layer to Overlay, and
that'll create an effect much as if we had
| | 00:36 | somehow projected the image of
this woman onto this surface.
| | 00:41 | So the shadow details on her face
are burning into the background, the
| | 00:45 | highlights are brightening
the background, and so forth.
| | 00:48 | So it's almost a matter of wrapping one
texture around another, as we'll see in
| | 00:52 | subsequent exercises.
| | 00:54 | All right, now I'm going to click on
the Wall layer and I'm going to change its
| | 00:56 | blend mode Hard Light.
| | 00:58 | Now that's not going to make any
difference as you can see here and the reason
| | 01:03 | is that blend modes only work down the stack.
| | 01:06 | If there's nothing below a layer, you can
change its blend mode to anything you like.
| | 01:11 | However, the blend mode is not going to
work, because there's nothing to blend
| | 01:15 | with, in the background.
| | 01:17 | But notice now, if I change the order of
these two layers, so wall is on top and
| | 01:22 | portrait is underneath, the effect
again does not change, and that's because
| | 01:27 | Hard Light and Overlay are commuted
versions of each other, that is to say, when
| | 01:32 | Hard Light is on top, you get the
same effect as when Overlay is on top.
| | 01:38 | When an Overlay layer is on top,
then you're emphasizing the layer below,
| | 01:42 | as we're in this case.
| | 01:44 | If I was to ask you which layer is the
most prominent, I would gather that you
| | 01:48 | would say the cave wall, because it
looks as if the cave wall is actually what
| | 01:51 | we're seeing with her projected onto it.
| | 01:54 | Meanwhile, when you set a layer to Hard Light,
then it takes precedent over the layer below.
| | 02:00 | So to just give you a sense of what
it look like if we went the other way
| | 02:02 | around, if we gave the portrait layer
precedent instead, I'll press Shift+Alt+O
| | 02:08 | or Shift+Option+O on the Mac, to change
that wall layer to the Overlay mode, you
| | 02:12 | can see that that shifted
its appearance onscreen.
| | 02:15 | I'm now going to select the portrait
layer, and I'm going to press Shift+Alt+H
| | 02:19 | or Shift+Option+H on the Mac to change
its blend mode to Hard Light, that's not
| | 02:23 | going to change anything, because as
before, there's nothing underneath a
| | 02:27 | portrait layer to blend with.
| | 02:29 | However, notice now, if I change the
order of these two layers, so she's on top
| | 02:34 | and the wall is on the bottom,
we're getting the exact same effect.
| | 02:37 | Once again, because Overlay and Hard
Light are commuted versions of each other.
| | 02:42 | When a layer is set to Hard Light it
takes precedent just as this portrait shot
| | 02:46 | is now taking precedent
inside of the composition.
| | 02:50 | When the wall is on top and set to
the Overlay mode, it gives precedent to
| | 02:54 | the layer below it, which is still portrait,
so we end up with the exact same effect.
| | 02:59 | Now one of the reasons I mention this
is not just because it's interesting, but
| | 03:03 | also because I think it will help you
navigate through these modes and make
| | 03:07 | sense of them when you're
applying them on your own.
| | 03:09 | For example, I'm going to grab that
portrait layer, move it on top and I'm
| | 03:12 | going to press Shift+Alt+N or Shift+
Option+N on the Mac, in order to restore it
| | 03:17 | to the Normal mode.
| | 03:18 | Now let's say I want to enhance the
contrast of this image while enhancing its
| | 03:23 | color as well, you can do that using
an empty adjustment layer set to one of
| | 03:28 | the contrast modes.
| | 03:29 | So for example, if I press the Alt key
or the Option key on the Mac and click
| | 03:33 | that black white icon and choose for
example Brightness/Contrast and then I'll
| | 03:38 | just call it dummy, because I'm not
going do anything with it, click OK.
| | 03:42 | In other words I'm not going to
change either the values, I'll go ahead and
| | 03:45 | collapse the Adjustments panel and then
I'll change the blend mode from Normal
| | 03:50 | to Overlay and we end up getting this
enhanced contrast effect that ends up
| | 03:55 | benefiting this image quite nicely,
because after all it was a pretty low
| | 03:59 | contrast image in the first place.
| | 04:01 | Now if you feel like there is too much
contrast, you can to switch from Overlay
| | 04:04 | to Soft Light and you'll end up
achieving a different effects, so here's the
| | 04:08 | original version of the portrait
shot and here's a versions subject to
| | 04:13 | essentially setting
itself to the Soft Light mode.
| | 04:16 | Now what you'll typically hear from
folks is if Overlay isn't enough, then you
| | 04:21 | can bump things up by switching the Hard Light.
| | 04:24 | However, that's not going to make any
difference in this case, because it's the
| | 04:28 | same darn blend mode, it just
matters which layer is on top.
| | 04:31 | Well, this dummy layer is essentially a
copy of the portrait layer, so they're
| | 04:35 | both the exact same layer, so we're
going to get exactly the same effect and
| | 04:40 | that's something to bear in mind when
you're working with your own images.
| | 04:43 | So where this sort of approach is
concerned, if Overlay isn't quite doing it for
| | 04:48 | you then you want to bump it up all the
way to Linear Light, that's going to be
| | 04:53 | your high contrast mode when you're
working with an adjustment layer for
| | 04:56 | example, that of course is going to be
too much, you're going to see all sorts
| | 05:00 | of clip shadows and blown highlights, so
then at this point you would reduce the
| | 05:05 | Fill value, I'm going to press Shift+5
to take that Fill opacity down to 50%,
| | 05:10 | which isn't quite enough, so I'll go
ahead and try Shift+2 instead, to take it
| | 05:14 | down quite a bit further.
| | 05:15 | So we now have Linear Light
combined with a Fill value of 20%.
| | 05:19 | If I turn off that dummy layer, you
can see that's making a big difference.
| | 05:22 | So this is the original fairly low
contrast version of the image, and this is
| | 05:27 | the newly enhanced version.
| | 05:29 | Thanks to the application to an Empty
Adjustment Layer of Linear Light and a
| | 05:33 | Fill Opacity of just 20%.
| | Collapse this transcript |
| Adding clarity with a contrast mode| 00:00 | In this exercise I'll show you a couple
of really great filtering effects that
| | 00:04 | you can pull off using Overlay and a
couple of the other contrast modes.
| | 00:09 | Now the first thing I'm going
to do is duplicate this layer.
| | 00:11 | Press Ctrl+Alt+J or Command+Option+J
on the Mac, and I'll call this layer
| | 00:16 | portrait and then click OK.
| | 00:19 | And now, just so that we have as much
flexibility where the filtering process is
| | 00:22 | concerned as possible, let's convert
this layer to smart object by going up to
| | 00:26 | the Layers panel fly-out menu and
choosing the Convert to Smart Object command,
| | 00:31 | and now let's say we want to
apply a kind of sharpening effect.
| | 00:35 | I'll go up to the Filter menu and then
I'll choose the High Pass command, and
| | 00:39 | because of the way it's build High
Pass does a better job of eliminating
| | 00:44 | clipped highlights and shadows in this
Smart Sharpen command does, which often
| | 00:49 | makes it a better tool for sharpening
portraits, so I'll go ahead and choose that Command.
| | 00:53 | Now initially if I were to set the
Radius to something like 3 pixels let's say,
| | 00:58 | the effect is not going to look too good.
| | 01:00 | We're sending most of the image to gray,
and we're just keeping a little bit of
| | 01:04 | shadow and highlight detail around
the edges, but that's the whole point.
| | 01:08 | The beauty of this is gray is neutral
when you apply Contrast modes, so you can
| | 01:13 | make all that grayness go away.
| | 01:15 | So I'll click OK in order to accept that affect.
| | 01:18 | I'm going to right-click inside of
that Filter mask and choose Delete Filter
| | 01:21 | Mask to get rid of it, and then I'll
double click on a little slider icon to
| | 01:26 | bring up the Blending Options dialog box,
and I'm going to switch the mode to Overlay.
| | 01:31 | and we end up with this
sharpening effect right here.
| | 01:35 | Now I'll go ahead and click OK
in order to accept the change.
| | 01:38 | I'll zoom in a little bit as well, so
that we can see her eye a little more
| | 01:41 | closely, and I'll turn
off the effect for a moment.
| | 01:44 | This is the before version of the
image, and this is the after version.
| | 01:48 | So it's pretty subtle right now, and it
might be a little too subtle for your taste.
| | 01:53 | In which, case double-click on the
slider icon again, and now let's go ahead and
| | 01:57 | switch the mode not to Soft Light,
because we don't want to reduce the effect,
| | 02:01 | although if we did, that would be a great mode.
| | 02:03 | Not to Hard Light, because we're not
going to get a different affect, because it
| | 02:07 | is the same darned images.
| | 02:08 | Vivid Light isn't really what
we're looking for this effect.
| | 02:11 | If you wanted to bump it up, then you'd
go for Linear Light and that's going to
| | 02:15 | give you the most heightened effect possible.
| | 02:17 | There's something to note about this
Opacity value, you can go ahead and reduce
| | 02:22 | it, but it's not Opacity, it's Fill Opacity.
| | 02:26 | Let me show you that that's the way it works.
| | 02:28 | I'm going to switch to Hard Mix for a
moment here, so you can see just how
| | 02:32 | ridiculously over-the-top the effect is.
| | 02:35 | If I reduce it to 50%, notice how
well it merges, that's not a standard 50%
| | 02:40 | Opacity, that's the 50% Fill Opacity
and so not only does this opacity value
| | 02:46 | behave as Fill Opacity here inside
the Blending Options dialog box, but it
| | 02:50 | behaves that way when you
apply layer effects as well.
| | 02:54 | So bear that in mind, and by the way,
it's not something to watch out for, it's
| | 02:58 | strictly great news.
| | 03:00 | Anyway, I'm going to switch this back
to Linear Light, and I'm going to crank
| | 03:04 | the Opacity value back up to 100% for
now, so I can show you, if I zoom out
| | 03:09 | here, you can pretty clearly now see
the effects of the sharpening, this is
| | 03:13 | the original version of the image, if
I turn the effect off, and this is what
| | 03:17 | it's look like now.
| | 03:18 | Let's say though you're not really
looking for sharpening, you're looking for
| | 03:21 | clarity, which is to say a little bit
of edge contrast, but something with a
| | 03:26 | wider diameter, then double-click on
where it's High Pass to bring back up the
| | 03:30 | High Pass filter dialog box, and
let's crank the Radius value up to a 100
| | 03:35 | pixels now, and click OK.
| | 03:37 | Obviously, that's too big of an effect,
so then you double-click on the slider
| | 03:42 | icon and take that opacity value down to
say 20% or so and click OK, and because
| | 03:49 | it's Fill Opacity, we end up getting
this pretty darn subtle effect, this is
| | 03:53 | what the image looked like before,
and this is what it looks like now.
| | 03:57 | So the result is a
subtle application of clarity.
| | 04:01 | Thanks to this very flexible
application of the High Pass filter subject to
| | 04:06 | Overlay and Linear Light.
| | Collapse this transcript |
| Creating a glowing, soft-focus effect| 00:00 | In this exercise I'm going to show
you another really great contrast
| | 00:04 | modes filtering effect.
| | 00:06 | That's pretty much the opposite of
what we saw in the previous movie.
| | 00:09 | Rather than adding clarity or contrast,
we're going to add a kind of glow to
| | 00:14 | the image using Gaussian Blur, and even
if you've seen this effect demonstrated
| | 00:18 | before, I have come up with a variation on it,
that I think makes it a lot more successful.
| | 00:23 | And with this portrait smart object
layer selected, I'm going to turn off High
| | 00:28 | Pass, because we don't
want it on for this effect.
| | 00:31 | Then go up to the Filter menu choose
Blur and choose Gaussian Blur, and I'm
| | 00:36 | going to apply a big Radius value
of 20 pixels, and then click OK.
| | 00:42 | The next step is to double-click on
the slider icon and change the mode from
| | 00:46 | Normal to Overlay, and you can
experiment with the other contrast modes if you
| | 00:51 | want to, but I'm going to stick
with Overlay, and I'll click OK.
| | 00:55 | Now you can see how that does
give the image a kind of balance.
| | 00:58 | If I turn Gaussian Blur off, this is the
original version of the photograph, and
| | 01:03 | then this is the modified version, so it
servers a couple of different purposes.
| | 01:07 | It's great if you just want to add a
kind of bouncing glow effect, but it can
| | 01:11 | also be useful for covering that pores
and other skin details and blemishes.
| | 01:16 | However, here is the problem.
| | 01:17 | Notice the saturation levels when I turn
Gaussian Blur off, and then when I turn it back on.
| | 01:23 | Basically we're getting a heck of a lot
more saturation, and it may work to the
| | 01:28 | images advantage, but then again, it may not.
| | 01:31 | The problem is and the reason we didn't
see that where High Pass was concerned,
| | 01:36 | is because High Pass was generating
grayish results, where Gaussian Blur is
| | 01:41 | generating very colorful results.
| | 01:43 | So the colors are building on each other,
thanks to the Overlay mode, and we end
| | 01:48 | up punching out those saturation values.
| | 01:50 | What if that's not what you want, but if
you want to leave that saturation alone?
| | 01:54 | Well, you do a couple of things.
| | 01:56 | First of all you double-click on that
slider iconic again, and you reset the
| | 02:00 | mode from Overlay back to
Normal, and then you click OK.
| | 02:04 | Now for this to work, you need two
separate versions of the image, one of which
| | 02:07 | has to be a smart object as ours is,
and then another version, which is the
| | 02:12 | original smart object or not.
| | 02:15 | Now you go up to the blend mode pop-up
menu here in the Layers panel and you
| | 02:19 | change it to Overlay.
| | 02:21 | We get the exact same effect by the way,
but now we have a little more control
| | 02:25 | over what's going on.
| | 02:26 | Now I want you to press the Alt key
or the Option key on the Mac, click the
| | 02:30 | black white icon at the bottom of the
Layers panel, and choose the Vibrance
| | 02:34 | command this is the best adjustment
for this purpose and let's go ahead and
| | 02:37 | call this new layer desat and turn on
the checkbox that says Use Previous Layer
| | 02:42 | to Create Clipping Mask, click OK,
because we're clipping this adjustment layer
| | 02:47 | or reducing the contrast of the smart
object layer, but not the composition overall.
| | 02:52 | Now notice we take the saturation
value all the way down to that should be
| | 02:57 | -100, then we're actually depleting the
saturation of the overall image, that's not what we want.
| | 03:04 | Instead if you want to maintain the
original image saturation, you take that
| | 03:08 | saturation value down to -50, and
that's it, don't touch the vibrance.
| | 03:13 | I'll just go ahead and close the
Adjustment panel and you can see that if I turn
| | 03:17 | off this smart object layer now,
that's the original version of the image,
| | 03:21 | that's the original level
of color saturation as well.
| | 03:24 | If I turn the portrait layer back on,
you can see that we have the same level of
| | 03:29 | color saturation, while still
maintaining that nice bounce of glow, from the
| | 03:34 | Gaussian Blur filter, combined with Overlay.
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| Blending an image with a paper texture| 00:00 | In this exercise I'm going to show
you how to map our artistic surface
| | 00:04 | texture onto an image.
| | 00:06 | And let's go down here to the Black &
White icon once again, press and hold
| | 00:09 | the Alt key or the Option key on the Mac
and go ahead and choose the Pattern command.
| | 00:13 | In order to create a New Pattern
Fill layer and we'll call this layer
| | 00:16 | texture and then click OK.
| | 00:19 | Now inside the Pattern Fill dialog box,
you'll be able to select from just two
| | 00:23 | patterns by default.
| | 00:24 | Neither of which are all that useful, but
there is a bunch of other patterns to choose from.
| | 00:29 | To get to them click this right pointing
arrow-head and then choose one of these
| | 00:32 | libraries down here at the
bottom of the fly-out menu.
| | 00:35 | I'm going to go with Artistic Surfaces,
and then click on the Append button in
| | 00:40 | order to load those up and
keep the original two patterns.
| | 00:43 | And I'm going to start with this
pattern here, it's called Hard Charcoal light,
| | 00:48 | and I'll click on it and then I'm
going to change the Scale to 200% like so.
| | 00:53 | Now all of these surface textures have
a lot of gray in them and that gray is
| | 00:57 | going to drop out if we change the
blend mode assigned to this layer to one of
| | 01:01 | the contrast modes such as Overly let's say.
| | 01:04 | That's not really the effect I'm looking
for, I wanted to look as if for face is
| | 01:09 | actually sort of mapped into the texture,
and so I'm going to press the Escape
| | 01:15 | key in order to deactivate that blend
mode and then just press Shift+Alt+N or
| | 01:19 | Shift+Option+N on the Mac in
order to restore the normal mode.
| | 01:22 | And now let's go ahead and convert
this texture to a smart object, so we can
| | 01:26 | keep it around and
modify it later if we want to.
| | 01:29 | Click on the Layers panel fly-out
menu and choose Convert to Smart
| | 01:33 | Object command like so.
| | 01:34 | Then let's turn this into a real
texture by going up to the Filter menu,
| | 01:39 | choosing Stylize and then
choosing the Emboss command.
| | 01:43 | For this sort of effect you can change
the angle to anything you please, but I
| | 01:48 | recommend you set the Height value to
just 1 pixel and Amount of 100% is just
| | 01:53 | fine, and then click OK.
| | 01:56 | And now we have something closely
resembling a texture and it's got a lot of
| | 02:00 | gray in it, which means we can dropout
the gray and just keep the highlights and
| | 02:04 | shadows by switching to one of the blend modes.
| | 02:08 | Now I always recommend you start off
with the Overlay mode, see what you think.
| | 02:12 | If that's not quite enough, now you
can switch to Hard Light, because you're
| | 02:16 | working with two totally different
images this time around, and you will create
| | 02:20 | an enhanced effect, if that's still not
enough, well then just go ahead and bump
| | 02:24 | it up to Linear Light and see what happens.
| | 02:27 | Now of course this is too much of an
effect, so I'm going to back it off by
| | 02:31 | pressing Shift+5 to
reduce the Fill opacity to 50%.
| | 02:36 | Now at this point let's say, you're
thinking, well, it's a pretty cool paper
| | 02:39 | texture, makes the image look a little
painterly or as if you've printed it on
| | 02:43 | nice stock, what have you.
| | 02:45 | However, this isn't quite
the texture you're looking for.
| | 02:48 | Well then, all you need to do to
switch out to texture is double-click on the
| | 02:51 | Smart Object thumbnail
here inside the Layers panel.
| | 02:53 | If you get the alert message, just
click OK, that'll open the image and an
| | 02:57 | independent window like so.
| | 02:59 | You'll end up with the Texture layer
and then this empty Layer 1 below it, just
| | 03:04 | go ahead and get rid of Layer 1 by
clicking on it and pressing the Backspace or
| | 03:07 | Delete key, and then double-click on that
thumbnail to bring up the Pattern Fill dialog box.
| | 03:13 | Let's go ahead and
switch to a different pattern.
| | 03:15 | The one I think works really well with
this images is Coarse Weave, so I'll go
| | 03:19 | ahead and click on it to select it,
then you could if you wanted to, you could
| | 03:22 | modify the scale value to make it
bigger or smaller or what have you.
| | 03:26 | However, this is going to work out fine,
so I'll click OK and then just go ahead
| | 03:30 | and close the image, and click Yes
to save the image here on the PC.
| | 03:34 | You'd click the Save button on the
Mac, and you change out that texture.
| | 03:38 | So if I press Ctrl+Z or the Command+Z
on the Mac, this is that original texture
| | 03:42 | and then this is the new one.
| | 03:44 | The new texture is over the top,
it's just too big, so I'm going to press
| | 03:48 | Shift+2 to reduce that Fill Opacity
value to 20% and we end up with this nicely
| | 03:54 | textured effect right here.
| | 03:56 | And you know what, I think we're going
to be able to see it better if I press
| | 03:59 | the F key a couple of times to switch
to the Full Screen mode, and that's how
| | 04:03 | you map a surface texture onto an
image, using a combination of the Emboss
| | 04:08 | filter along with a Contrast mode.
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| Turning flesh into stone| 00:00 | In this exercise I'm going to show you
how to use the Overlay mode in order to
| | 00:04 | wrap a texture around the
surface of a person's face.
| | 00:08 | And it turns out to be
something of morale of the story here.
| | 00:11 | This dude is making this kind of
I'm just crazy enough to do it face.
| | 00:16 | And just as your mother probably told
you, if you make a face like that long
| | 00:20 | enough, it's going to turn to stone,
and that's what we're going to do.
| | 00:24 | We're going to go ahead and wrap this
stone texture around his face, so it looks
| | 00:29 | like he's been turned into a kind of statue.
| | 00:32 | And here is how we're going to make it happen.
| | 00:34 | If you go to the Channels panel
you'll notice that I've set up some alpha
| | 00:37 | channels for you in advance.
| | 00:39 | There is this face channel right there, which
represents of course most of the guy's face.
| | 00:43 | We're missing some details on his
chin and so forth, but that's okay.
| | 00:48 | I didn't get his neck however;
| | 00:49 | I wasn't able to select the neck at
the same time, so I've selected the neck
| | 00:53 | which is very dark region inside
of this image in a separate paths.
| | 00:57 | So we're going to go ahead
and add these two mask together.
| | 01:00 | And one way to do that is to go up to
the Image menu and choose the Calculations
| | 01:04 | command, and then we get select the
two masks one of which is called face the
| | 01:09 | other one's called neck, and because
we want to add them together, we want to
| | 01:12 | magnify their bright parts, then we
would change the blend mode to Screen, and
| | 01:18 | that's how you add two mask together
inside of Photoshop, And then click OK and
| | 01:23 | you'll end up with yet another Alpha
channel, and we can call this one mask.
| | 01:28 | Now I Ctrl+click on it or Command+Click
on the Mac and then switch back to the
| | 01:32 | RGB image, and I'm going to turn on
that stone layer, click on it to make it
| | 01:37 | active, and then drop-down to the Add
layer mask icon and click on it in order
| | 01:41 | to mask that texture into the guy's face.
| | 01:44 | All right, now just the matter of
changing the Blend Mode to Overlay, so that
| | 01:49 | we can get a sense of how the texture and
the face are going to interact with each other.
| | 01:53 | Now there are a couple of issues I
have here, one is, I don't really want the
| | 01:57 | texture mapping into his eyes, because
I think it will look better if his eyes
| | 02:01 | are all naturally flashy.
| | 02:03 | I created some Paths in advance, I'm
going to switch over here to the Paths
| | 02:06 | panel, and you can see that I've got
these paths, we'll go ahead and zoom in on
| | 02:11 | him and I'll select him
too with a Black Arrow tool.
| | 02:14 | I'll click on one and Shift+Click on
the other so that you can see these path
| | 02:18 | outlines that I drew with the Pen Tool;
| | 02:20 | you can see they have a certain
clockwork Orange quality to them.
| | 02:24 | What I really want to do is convert
them to a selection, so I'll Ctrl+Click or
| | 02:28 | Command+Click on the eyes path in
order to select the eyes, then I'll switch
| | 02:33 | back to the Layers panel, make sure that Layer
mask is selected there inside the Layers panel.
| | 02:38 | Press the D key in order to establish
the default foreground and background
| | 02:41 | color and then press Ctrl+Backspace
or Command+Delete on the Mac in order
| | 02:46 | to fill that portion of the Layer mask
with black, which ends up revealing the eyes.
| | 02:51 | I'm going to press the M key to switch
back to the Rectangular Marquee Tool and
| | 02:54 | click in order to deselect the image.
| | 02:56 | One other problem is that his skin
tones are a little bit too flashy still;
| | 03:02 | they don't look as if
they've really turned to stone.
| | 03:05 | So I'm going to take this layer right
here and I'm going to press Ctrl+Alt+J or
| | 03:09 | Command+Option+J on the Mac to create a
copy of it, and I'm going to call desat,
| | 03:15 | because we're going to use it to rob
some of the saturation out of the image.
| | 03:18 | I'll click OK and now let's change the
Blend Mode from Overlay to Color, for
| | 03:24 | starters, just to get a
sense of what that looks like.
| | 03:26 | These would be the actual colors from
the stone, blended in with the skin.
| | 03:31 | To me, that looks pretty good, but it
doesn't look exactly right, not quite
| | 03:35 | what I'm looking for.
| | 03:36 | So I ended up switching to a mode, I have
to say, almost never use, but saturation.
| | 03:42 | And that went ahead match the
saturation of the skin tones with the colors
| | 03:47 | that we're already finding inside the
face and it ends up creating this really
| | 03:51 | cool like in effect all over the contours of
his forehead and his nose and his lips as well.
| | 03:58 | I just love the fact here that in some
places his lips are kind of pink and then
| | 04:02 | he has these mysterious gray spots as
if he was actually turning to stone.
| | 04:09 | And then the final thing I did was click
on the stone layer and then press the 8
| | 04:13 | key to reduce the Opacity value to 80%.
| | 04:17 | Bearing in mind by the way that
Overlay is not one of the members of the Fill
| | 04:21 | Opacity 8 group, so it doesn't matter
if we change the Opacity or the Fill
| | 04:25 | value, we'll get the same effect.
| | 04:27 | And now I'll go ahead and
switch to the Full Screen mode.
| | 04:29 | That's Ctrl+0 in order to zoom
out, zoom back in a little bit.
| | 04:34 | This is the final effect folks, and
it's a function of mapping a surface
| | 04:39 | texture into a person's skin, using the
Overlay mode combined with saturation,
| | 04:45 | here inside Photoshop.
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|
|
7. The Inversion and Cancelation ModesDifference, Exclusion, Subtract, and Divide| 00:00 | In this exercise I will introduce you to
the two Inversion modes, Difference and
| | 00:04 | Exclusion, as well as the two
Cancellation modes, Subtract and Divide.
| | 00:09 | I am working inside of familiar looking
file called Leaf demo.psd found inside
| | 00:14 | the 07_inversion folder.
| | 00:16 | In addition to the leaves in the
background, I have got this full width gradient
| | 00:19 | layer in the foreground, I am going to
go ahead and click on it to select it.
| | 00:23 | And then, let's switch it to the
first of the modes, which is Difference.
| | 00:28 | Now what happens with difference
is that anything that's black in the
| | 00:31 | active layer, does not invert the
layers below at all, and anything that's
| | 00:35 | white, inverts absolutely.
| | 00:38 | And so we end up with this gradient
inversion with the gray values in-between
| | 00:43 | inverting to different degrees.
| | 00:45 | Now the great thing about difference, vis
-?-vis, the other modes in this set, is
| | 00:49 | that it's the final member
of the Fill Opacity eight.
| | 00:52 | So notice if I press the 5 key to reduce
the opacity of his layer to 50%, we end
| | 00:57 | up getting a pretty rotten effect here.
| | 01:00 | So I will go ahead and press 0 in order
to reset the Opacity to 100% and then I
| | 01:06 | will press Shift+5 to reduce the Fill
Opacity value to 50% and you can see that
| | 01:11 | we get a completely different effect.
| | 01:14 | All right, I am going to press Shift+
0 in order to restore fill to 100%.
| | 01:19 | Now let's check out the next mode which
is Exclusion, I will press Shift++, in
| | 01:24 | order to advance to that mode.
| | 01:26 | Black still does not invert, as you
see over here on the left hand side.
| | 01:30 | White inverts absolutely, as you can
see on the right hand side, but the gray
| | 01:34 | values end up muddying up the
image and looking more or less opaque.
| | 01:39 | Now I have to say, whereas the
Difference mode is extremely useful, the
| | 01:44 | Exclusion mode is more of a special effect
that you may or may not find yourself applying.
| | 01:50 | Just to give you a sense here, I am
going to turnoff that gradient layer for a
| | 01:53 | moment and I am going to turn on
this dummy layer and click on it.
| | 01:57 | And this is just a blank brightness
contrast adjustment layer, it's not doing anything.
| | 02:02 | But, whereas here I had to change the
Blend Mode to Difference, which I can do
| | 02:05 | from the keyboard, by pressing Shift
+Alt+E or Shift+Option+E on a Mac.
| | 02:09 | Notice that the image ends up
completely canceling itself out and while that
| | 02:14 | might not seem like such a great thing,
it's extremely useful as we'll see
| | 02:19 | starting in the next exercise.
| | 02:20 | Whereas, if I press Shift++ to advance
to the Exclusion Mode, we end up getting
| | 02:26 | all kinds of colorful interactions.
| | 02:29 | With the red leaves basically
remaining intact and the yellowish leaves
| | 02:34 | inverting to become blue and green and
cyan, and so forth, so just to give you a
| | 02:40 | sense of how these modes behave.
| | 02:42 | All right, I am going to go ahead and
turn off that dummy layer, turn on the
| | 02:45 | Gradient layer once again and click on it.
| | 02:47 | And now I will advance to the next mode
by pressing Shift++, which is Subtract.
| | 02:53 | And when you are subtracting black
from an image, it ends up doing nothing,
| | 02:57 | so you can see over here on the left-hand side
the luminance levels of leaves are fairly intact.
| | 03:03 | When you subtract white however, you
end up subtracting the brightest luminance
| | 03:07 | level there is, and so everything
ends up conversely going to black.
| | 03:13 | I what you do know subtract and
divide have some problems where
| | 03:17 | straightforward compositing is
concerned because they are beat by some other
| | 03:22 | modes that we've already seen.
| | 03:23 | I am going to switchover to this file
that's called For comparison.psd and I am
| | 03:29 | going to turn onto its gradient, it's
the exact same gradient we saw a moment
| | 03:32 | ago, the exact same leaves as well,
and I am switch to the Darken blend mode
| | 03:37 | that employs some
traction, which is Linear Burn.
| | 03:40 | And notice this time we end up with
blackness over here on the left hand side
| | 03:45 | and unmodified leaves
over on the right hand side.
| | 03:48 | And I will press the Escape key to
deactivate the Blend Mode for a moment, if
| | 03:52 | I were to take that layer and invert it
by pressing Ctrl+I or Command+I on the Mac.
| | 03:57 | Now I will switch back to the other
image where that gradient is affected by the
| | 04:01 | Subtract mode and you can see that we
end up achieving exactly the same effect.
| | 04:06 | Here is subtract, and here is that
same layer inverted, set to Linear Burn.
| | 04:13 | The big difference is that Linear Burn
is part of the Fill Opacity eight, so if
| | 04:18 | I press Shift+5 in order to reduce the
Fill value to 50%, we end up getting a
| | 04:23 | more gradual darkening effect
over here in right hand side.
| | 04:27 | If I switch back to Leaf demo file
where I've applied the Subtract mode and I
| | 04:31 | press Shift+5, we get a completely
different effect, and that's because Fill and
| | 04:37 | Opacity affect the Subtract
mode in exactly the same way.
| | 04:41 | So there's really no advantage to using
the Subtract mode when you already have
| | 04:46 | the Linear Burn mode at your disposal
and it's a more powerful Blend Mode.
| | 04:50 | All right I am going to press Shift+0
to increase the Fill value back to 100%
| | 04:55 | and I'm going to advance to the
second cancellation mode, which is Divide.
| | 05:00 | Notice this time we are ending up clipping
the left-hand portion of the image to white.
| | 05:05 | And those of you who are stuck with me
for Chapter 2, you may recall that just
| | 05:10 | as multiplying luminous levels darkens
them, Divide ends up brightening them.
| | 05:15 | However, whereas Multiply does not
clip colors, the Divide mode does, and
| | 05:19 | especially when we are
dividing by the darker colors.
| | 05:22 | We end up dividing by these very
small numbers, and so things brighten up
| | 05:26 | tremendously, and of course, when you
divide by Black which is zero, you get an
| | 05:31 | undefined number, and
that just goes to the roof.
| | 05:34 | So we end up with this effect here.
| | 05:36 | Again, Divide is already taking
care of by one of the Lighten modes.
| | 05:42 | And let me show you what that looks like.
| | 05:43 | I will go ahead and switch back to this
Comparative file, and I will restore the
| | 05:47 | Fill value to 100% by pressing Shift+0.
| | 05:50 | Now if I press Shift+Alt+N or Shift+
Option+N on the Mac you may recall we are
| | 05:55 | working with an inverted
version of the gradient.
| | 05:58 | So it's already inverted.
| | 05:59 | Now if I go ahead and switch to this
Inverted gradient to color dodge, switch
| | 06:04 | back to the other file, and you can
see that Divide is exactly the same as
| | 06:10 | inverting the active layer
and applying color dodge.
| | 06:13 | Once again though, color dodge is part
of the Fill Opacity eight, so if I press
| | 06:18 | Shift+5 to reduce the Fill value to 50
%, I am going to restore a lot of the
| | 06:23 | detail on the left-hand side of this image.
| | 06:25 | If I switchover to Leaf demo file,
where I've apply Divide to this opposite
| | 06:30 | gradient, and I press Shift+5 to
reduce the Fill value, we end up with this
| | 06:35 | fairly hideous effect here.
| | 06:38 | And again, that's because Divide is not
part of the Fill Opacity eight, so both
| | 06:41 | the Fill and Opacity value is
affected in exactly the same way.
| | 06:47 | So again, Subtract and Divide are
already taking care of by Linear Burn and
| | 06:52 | Color Dodge respectively, and the job
is done better by those Blend Modes.
| | 06:57 | Meanwhile, Exclusion is kind of a
weird freaky mode, Difference is the mode
| | 07:02 | that's truly useful, and I'll
show you why in the next exercise.
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| Comparing seemingly identical images| 00:00 | One of the great uses for the
Difference mode is that it allows you to compare
| | 00:04 | seemingly identical images
and discover their differences.
| | 00:08 | And here's how that works.
| | 00:10 | We are looking at a photo from
Fotolia image library, I absolutely love it
| | 00:14 | because it's a great demonstration of
Blend Modes, we have got this photograph
| | 00:17 | in the background, then this falling
type in the foreground set to the Screen
| | 00:21 | mode I would imagine, in order
to create this bright interaction.
| | 00:25 | The name of the file is Access codes.
tiff so I save the image to the tiff file
| | 00:30 | format, I use LZW compression,
which is entirely lossless.
| | 00:35 | So it doesn't change a
single pixel inside the image.
| | 00:38 | Meanwhile, next-door, it
looks like the same image;
| | 00:42 | we will see that it's not in a moment.
| | 00:43 | It's called Heavily compressed.jpg, and
what I did was, I save that same file to
| | 00:49 | the JPEG format, and I applied the
lowest quality setting possible, which is 0.
| | 00:54 | And as a result, if you go and zoom in
on this image, you can see that we have
| | 00:59 | all kinds of compression artifacts, they
show up as these 8x8 pixel squares, and
| | 01:05 | basically all of the pixels are
rewritten, based on the color of the top left
| | 01:11 | pixel and that's how JPEG works.
| | 01:14 | Now let's say we want to get a sense of what
exactly has change between these two images.
| | 01:19 | Well, I am going to right click inside
this image and choose Duplicate Layer and
| | 01:24 | then send it over to Access codes.tiff
and change its name to let's say JPEG
| | 01:30 | version and click OK.
| | 01:32 | And now we'll switch back to the image at hand.
| | 01:35 | To compare the two, I will go ahead and
change the Blend Mode from Normal to Difference.
| | 01:41 | Now first it's going to look like the
image is gone completely black, so there
| | 01:46 | must not be any differences between the
pixels, because identical pixels set to
| | 01:50 | the Difference mode cancel each other out.
| | 01:53 | However, that's not actually the case.
| | 01:55 | So what I am going to do is press the
Escape key to deactivate the Blend mode there.
| | 02:00 | And I'm going to create a Merged
version of these two layers by pressing
| | 02:05 | Ctrl+Shift+Alt+E or Command+
Shift+Option+E on the Mac.
| | 02:09 | We will go ahead and create a
merged composite on a new layer.
| | 02:13 | I will go ahead and call
this new layer Merged as well.
| | 02:17 | Now what you need to do is go up to
the Image menu, choose the Adjustments
| | 02:20 | command and choose Levels or you can
press Ctrl+L, Command+L on the Mac and
| | 02:25 | look at that histogram, there is some action
going on in the very dark regions of this layer.
| | 02:32 | To make it evident, go ahead and grab
that white slider triangle and move it
| | 02:38 | very far over to the left hand side.
| | 02:41 | And I am going to ultimately
settle on a white point value of 20.
| | 02:45 | So that we have a fair amount of
distinction going on here and then I will click OK.
| | 02:50 | Any pixel at this point that does not
appear black has been rewritten, which
| | 02:56 | means that applying a lot of JPEG
compression in our case, has rewritten just
| | 03:01 | about every single pixel in the image.
| | 03:05 | So any time you want to be able to
compare two seemingly identical images and
| | 03:10 | figure out if they are truly the same
thing, then you can do this exact same
| | 03:15 | tests we did here, using the Difference
Blend Mode, going ahead in merging the
| | 03:20 | two layers and then using the Levels
command to exaggerate the differences.
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| Creating type that inverts any background| 00:00 | In this exercise I will show you how to
use the Difference Mode to create live
| | 00:04 | editable text that inverts anything
behind it, and this works for Line Art as
| | 00:08 | well, anything that's white against the
black background or just plain white and
| | 00:13 | it's really a great trick.
| | 00:16 | I'm working inside a file called
Double model comp.psd, it's found inside the
| | 00:20 | 07_inversion folder.
| | 00:23 | And it's so called by the way,
because I have two versions of this model,
| | 00:26 | currently we are seeing the model 1
layer, but if I turn on the model 2 layer,
| | 00:31 | you can see we've got another shot of
the same model far in the foreground and
| | 00:35 | she's covering up the background image,
because she has this white background.
| | 00:38 | That's rude in everything, but it's not
a problem at all, and we can test that
| | 00:42 | that background is white, by selecting
a Magic Wand tool making sure that the
| | 00:47 | Tolerance values is set to 0, Anti-
alias is off, Contiguous is turned on,
| | 00:52 | problem is that I have the wrong layer selected.
| | 00:54 | So I will go ahead and click on model 2,
and now I'll click in the background
| | 00:58 | and you can see that we've
got this huge area of white.
| | 01:02 | And if I want to test that it's white,
then I press the I key switch to the
| | 01:06 | eyedropper and just go ahead and click
some place inside that background, test
| | 01:11 | the color up here in the Color panel,
sure enough we've got white, because the
| | 01:15 | Saturation value is set to 0 and
the Brightness value is set to 100%.
| | 01:20 | So let's make that white disappear,
not by masking of course, press Ctrl+D or
| | 01:24 | Command+D on Mac to deselect the image.
| | 01:26 | All we need to do is press Shift+Alt+M
or Shift+Option+M on the Mac to switch to
| | 01:31 | the Multiply mode, and that
white background disappears.
| | 01:35 | So that's step one.
| | 01:36 | Step two is to integrate the text.
| | 01:38 | So I am going to go ahead
and turn that text layer on.
| | 01:41 | and then click on it to make it active.
| | 01:43 | Now I've rasterized this text, because I
was using a few fonts that are on my system.
| | 01:48 | probably aren't on yours.
| | 01:49 | But this trick would work just
as well for live editable text.
| | 01:53 | Now I am going to press the D key in
order to reinstate the default colors of
| | 01:57 | black-and-white, and I will press the
M key to switch back to the Rectangle
| | 02:01 | Marquee tool and then I am going to
fill this text with white by pressing
| | 02:06 | Ctrl+Shift+Backspace, that would
be Command+Shift+Delete on the Mac.
| | 02:11 | The ideas is that Ctrl+Backspace or
Command+Delete goes ahead and fills the
| | 02:15 | layer with the background color,
because we have the Shift key down as well,
| | 02:19 | irrespective of the transparency,
so the letters remain intact.
| | 02:23 | The great thing you may recall about the
Difference mode is that anything that's
| | 02:28 | white on the active layer, inverts entirely.
| | 02:32 | So it automatically inverts anything
behind it, which means that we can change
| | 02:36 | the mode from Normal to difference
to achieve this effect right here.
| | 02:41 | And now if I press the Ctrl key or the
Command key on the Mac to get the Move
| | 02:45 | tool on the fly and drag this text
elsewhere inside the image, it is going to
| | 02:50 | continuously invert everything behind it.
| | 02:53 | And as I say, this works with live
editable text, so you can turn around and
| | 02:57 | edit the text anytime you like.
| | 02:59 | It also works with Line Art as long as a
Line Art is white, against the black background.
| | 03:04 | All right, I am going to press Ctrl+Z or
Command+Z on the Mac, to undo that movement.
| | 03:08 | We do have what I consider to be an
aesthetic problem however, even though I
| | 03:13 | like the fact that we have this black
text against the white background, I
| | 03:16 | don't want the text that overlaps
the models to turn blue, because its
| | 03:20 | inverting those warm skin tones.
| | 03:22 | Instead, I'd like those areas of the
text to turn white, and I'll show you how
| | 03:26 | to make that happen in the next exercise.
| | Collapse this transcript |
| Making inversion type black and white| 00:00 | I've saved my progress as Self-
inverting type.psd found inside the
| | 00:04 | 07_inversion folder.
| | 00:06 | In this exercise I'm going to show
you how to create inverting type that's
| | 00:10 | either black or white, so that we
have a high contrast effect with a little
| | 00:15 | bit of gray action in between and it's
ultimately a function of adding on some
| | 00:20 | adjustment layers, but it also involves
a special advance blending trick as well.
| | 00:25 | So the first thing that we're going to
do with the text layer active is press
| | 00:29 | the Alt key or the Option key on the Mac,
click on the black/white icon and go
| | 00:33 | ahead and choose the Vibrance command
and I'm going to call this layer desat
| | 00:39 | and very importantly turn on Use Previous
Layer to Create Clipping Mask and click OK.
| | 00:45 | Next I'm going reduce that saturation
value to its absolute minimum which is -100.
| | 00:50 | Now I'm losing the minus sign here
on the PC, but I have reduces the
| | 00:55 | saturation to its absolute minimum, you
can see the slider triangle is all the
| | 00:59 | way to left and yet inexplicably I'm
not seeing any difference where the text
| | 01:06 | is concerned, it's still blue.
| | 01:08 | So how is that I remove all the
saturation and I don't get gray, let me show you.
| | 01:13 | I'm going to go ahead and collapse the
Adjustments layer for a moment and I'm
| | 01:16 | going to Alt click or Option click
on that horizontal line between the
| | 01:21 | adjustment layer and the text and you
can see as soon as I unclip the layer the
| | 01:25 | entire image turns gray.
| | 01:27 | So obviously the adjustment layer is
working it's just not working properly.
| | 01:32 | I'm going to press Ctrl+Z or Command+Z
on a Mac to re-clip that layer, here is
| | 01:36 | what we have to do, you got to go
down to the text layer which is the layer
| | 01:40 | that's doing the clipping and then
double-click on an empty portion of that
| | 01:44 | layer, to bring up the Layer Style
dialog box and here is our problem.
| | 01:49 | Notice this checkbox that says
Blend Clipped Layers as Group.
| | 01:53 | So what's happening here is the
adjustment layer is de-saturating the layer
| | 01:58 | and then Photoshop is turning around
and applying the difference mode, do you
| | 02:02 | see how that's a problem the layer was
already de-saturated it was white, so
| | 02:06 | it had those saturation associated
with it in the first place, so we're still
| | 02:10 | getting the same effect.
| | 02:11 | However as soon as you turn that checkbox
off you reverse the order of the operations.
| | 02:16 | Now Photoshop is applying the
difference mode to that white text first and then
| | 02:21 | it's turning around and de
-saturating the results.
| | 02:24 | So remember if these kinds of things
don't go well for you, you've got these
| | 02:28 | two checkboxes right here that you can turn on
and off in order to achieve different effects.
| | 02:34 | Alright now I'll click OK in order to
accept that modification, I'm going to
| | 02:38 | click on the desat layer now to select
it and then I'll press the Alt key or the
| | 02:42 | Option key on the Mac click the black/
white icon and choose the Levels Command,
| | 02:47 | because we still need to make those
gray areas of the text white, and I'll go
| | 02:51 | ahead and call this layer B&W and I'll
turn on that checkbox once again very
| | 02:56 | important to our role end up
affecting the entire composite image.
| | 03:00 | And now inside the Adjustments panel
I'm going to drag that white slider
| | 03:04 | triangle over to the left and you can
see how we are making what were formerly
| | 03:10 | gray portions of letters white.
| | 03:13 | Now I've got a little too far with this
Y point value, so I'm going to take it
| | 03:16 | up to 110 that's all there is to it.
| | 03:19 | Now I'll go ahead and hide the Adjustments
panel, so we have a little more room to work.
| | 03:22 | Switch back to the text layer and once
again if I Ctrl+Drag or Command+Drag that
| | 03:27 | text, it inverts every thing behind it
successfully and we even get these nice
| | 03:32 | transitions here between the black
and the white areas of the letters.
| | 03:37 | If I go ahead and press Ctrl+Z or Command
+Z on the Mac to Undo that movement, we
| | 03:41 | have our text back where it belongs and
I just want to zoom in here, so you can
| | 03:44 | see what I'm talking about, we do
have some transitional grays left over.
| | 03:48 | So it's a high contrast effect with a little
bit of softness automatically built into it.
| | 03:54 | Now let's go ahead and switch to the
full screen mode and zoom in on our final
| | 03:59 | composition and there you have it a
couple of different ways to take advantage
| | 04:03 | of one of the best blend
modes in Photoshop Difference.
| | Collapse this transcript |
|
|
8. The Component (HSL) ModesLuminosity, Color, Hue, and Saturation| 00:00 | In this exercise we'll take a look at
the component modes which are HSL modes
| | 00:05 | that is to say Hue, Saturation
and Luminosity as well as Color.
| | 00:09 | We'll start by looking at Luminosity
and color, because they're the easiest to
| | 00:13 | understand and their applications are
the most obvious as well and then we'll
| | 00:17 | take a look at Hue and Saturation.
| | 00:20 | I'm working inside a file called the
Assyrian and sea.psd, found inside the
| | 00:25 | 08_component folder.
| | 00:26 | I've got the Assyrian layers selected,
notice that that's these statues that
| | 00:31 | we're seeing inside the Image window.
| | 00:32 | If you turn it off for a moment
you'll see the sea in the background.
| | 00:36 | So let's say we want to merge these
two images together we want to keep the
| | 00:39 | color of the sea and we want all the
details associated with the Assyrian.
| | 00:44 | All you need to do in that case is
switch from the very first mode Normal to the
| | 00:49 | very last mode Luminosity and that's
going to go ahead and merge the detail from
| | 00:55 | the Assyrian layer with the colors from
the layer or layers in the background.
| | 01:00 | And the reason is because we're keeping
his luminance levels, so we're totally
| | 01:04 | abandoning the color values
associated with this Assyrian carving and we're
| | 01:09 | replacing it with all the color
information in the background.
| | 01:12 | Now let's say you want to do the
opposite, you want to take the sea layer and
| | 01:16 | you want to merge its color with the
detail from the Assyrian, which will give
| | 01:20 | us the same effect of course, but if
the sea layer were in front then you would
| | 01:25 | choose the commuted version of luminosity.
| | 01:29 | Remember I was telling you couple of
chapters ago that Overlay and Hard Light
| | 01:33 | commuted versions of each other well
the same goes for color and luminosity.
| | 01:37 | If I wanted to replace the colors of
the Assyrian with the sea layer in front,
| | 01:41 | then I would go ahead and choose the Color mode.
| | 01:44 | Those are your too big HSL mode, they are the
once that you're going to use in a regular basis.
| | 01:49 | If you want to divide color into
its component parts then you could try
| | 01:53 | choosing Hue or Saturation.
| | 01:55 | So if I chose Hue and applied it to
the sea layer than I would apply all the
| | 02:00 | Hue values that is the various blues
and greens from the sea layer with the
| | 02:04 | saturation levels and the luminance
levels of the Assyrian here on the background.
| | 02:10 | Which means that we immediately as you
can see here lose saturation, because
| | 02:15 | they're carving wasn't very
saturating the first place.
| | 02:18 | So if I press Ctrl+Z or Command+Z on the
Mac to Undo that change and returned to
| | 02:23 | the color mode, you can see that we
have higher saturation values now.
| | 02:26 | If I press Ctrl+Z or Command+Z again we
see lower saturation's associate with Hue.
| | 02:32 | It turns out Hue is actually really great mode;
| | 02:34 | I'll show you a wonderful
use for in the later exercise.
| | 02:37 | The other one that you
can try out is saturation.
| | 02:40 | Now I already showed you an application
of saturation at the end of the previous
| | 02:44 | chapter, but just to review things here.
| | 02:47 | If you choose Saturation you'll keep
the saturation values from the sea layer
| | 02:51 | and mix them in with his Hue and
luminance levels of the Assyrians, so the
| | 02:56 | Assyrian is now restored to its former orange.
| | 03:00 | However it's a higher saturation orange.
| | 03:02 | Notice this if I turn off the sea layer
for a moment before he was pretty dull
| | 03:07 | little bit brownish looking, as soon
as I turn the sea layer back on, because
| | 03:11 | the sea layer is more highly saturated
we end up lifting the saturation values
| | 03:16 | from the Assyrian in the background.
| | 03:19 | In the next exercise we'll use one of
these modes specifically color in order to
| | 03:23 | transform this ancient Assyrian carving
into those wildly colorful composition.
| | Collapse this transcript |
| Colorizing artwork with layers| 00:00 | In this exercise I am going to show you
how to colorize a photograph or a piece
| | 00:04 | of artwork using independent
layers combined with the Color Mode.
| | 00:08 | We'll start things off inside the
file Assyrian & sea.psd found inside the
| | 00:12 | 08_component folder.
| | 00:13 | I am going to make a copy of this
Assyrian layer by pressing Ctrl+J or Command+J
| | 00:18 | on the Mac and then I'll
turn it off for a moment.
| | 00:21 | Return to the original Assyrian layer
and let's go ahead and switch it to that
| | 00:25 | ultimate contrast mode which is Linear
Light, by selecting Linear Light here
| | 00:31 | from the Blend Mode pop-up menu, and
that goes ahead and integrates the texture
| | 00:35 | of the background and the foreground
for that matter with the photograph of the
| | 00:38 | sea, but it's a little too much I think.
| | 00:40 | So I am going to press the Escape key
to deactivate the Blend Mode here on the
| | 00:44 | PC and then I'll press Shift+33 in
order to change the Fill value to 33%.
| | 00:51 | Now let's turn on the original Assyrian
layer because I want to reinstate him.
| | 00:55 | If you switch over to the Channels Panel,
you will see that I have created three
| | 00:59 | alpha channels in advance for you;
| | 01:01 | one that selects the entire guy,
another that just selects the eye, and then
| | 01:06 | finally one that selects the hair.
| | 01:08 | You note that the masks
are pretty rough, frankly.
| | 01:11 | I created all of them because we don't
really have that much to work with here
| | 01:16 | in the way of color
detail or anything like that.
| | 01:19 | When you are selecting something
along the lines of the monochrome carving,
| | 01:22 | you're pretty much at the
disposal of the Selection tools.
| | 01:26 | So I ended up working with of all
tools, the Quick Selection Tool, actually
| | 01:30 | it worked pretty well for this, as well as
the Elliptical Marquee and the Lasso Tool.
| | 01:35 | Anyway, I'm going to go ahead and load
up the big guy channel by Ctrl+Clicking
| | 01:39 | or Command+Clicking on it.
| | 01:41 | Then I'll switch back over to the Layers
Panel, and with that top Assyrian layer
| | 01:45 | selected, I will drop down to the
Add Layer Mask icon and click on it.
| | 01:50 | Now we've got the carving set against
the sea, but I want to give him let's say
| | 01:53 | a little bit of color and I'm going to
draw that color from this brown layer
| | 01:57 | right here, but if I just colorize him
with a flat shade of brown like this,
| | 02:01 | he's going to look pretty darn flat.
| | 02:03 | So I wanted to introduce some
variation, and here is how I went about that.
| | 02:08 | First, I pressed Ctrl+J or Command+J
on the Mac in order to create a copy
| | 02:12 | of that brown layer.
| | 02:13 | Turn it off, we'll come back to it in a moment.
| | 02:15 | Select the original brown layer.
| | 02:17 | Then press the D key just to make sure
your foreground and background colors are
| | 02:21 | at their defaults, black and white.
| | 02:23 | Then go up to the Filter menu, choose
Render and notice in addition to Clouds,
| | 02:28 | you have Difference Clouds.
| | 02:30 | Clouds in case you don't know,
applies a random fractal noise pattern that
| | 02:34 | happens to look something like clouds I
suppose, and this is the kind of effect you get.
| | 02:39 | Every time you'll apply the
filter, you get something different.
| | 02:42 | I am going to press Ctrl+Z or
Command+Z on the Mac to undo that change.
| | 02:45 | Just below the Clouds Filter is a
filter called Difference Clouds and what it
| | 02:49 | does is it applies the Clouds Filter
once again randomly, subject to the
| | 02:54 | Difference Blend Mode.
| | 02:55 | So it goes ahead and blends the
Clouds with the current color that's brown,
| | 03:00 | using that same Difference Mode
that we saw on the previous chapter.
| | 03:03 | So I'll go ahead and choose the command
and we end up getting this effect here.
| | 03:07 | Your results may vary.
| | 03:08 | And then if I press Ctrl+F or Command
+F on the Mac to repeat the filter,
| | 03:13 | we apply Difference Clouds again and that
goes ahead and reinverts the color pattern.
| | 03:18 | I'll press Ctrl+Z or Command+Z on the Mac.
| | 03:21 | We change the image to predominately
blue because any place where white was
| | 03:26 | assigned, in the fractal noise pattern,
we ended up inverting the brown and
| | 03:31 | that changed it to blue.
| | 03:32 | If I press Ctrl+F or Command+F to
repeat the filter, we reinvert all over the
| | 03:37 | place and we're
introducing all kinds of new colors.
| | 03:40 | Now you can keep doing that over-
and-over again, if you like, but two
| | 03:43 | applications of Difference Clouds is
enough to get the result we're looking for.
| | 03:47 | I'm now going to turn the original
brown layer back on and I am going to reduce
| | 03:51 | its Opacity value to 70% by pressing the 7 key.
| | 03:55 | Then, I'm going to merge these two
layers together by either going up to the
| | 03:59 | Layer Menu and choosing the Merge
Down command or you can just press Ctrl+E
| | 04:03 | or Command+E on the Mac and that
goes ahead and gives us this sort of
| | 04:07 | variable brown color.
| | 04:10 | Now I am going to press the Alt key or
the Option key on the Mac and click that
| | 04:13 | horizontal line between brown and the
layer below, so that we're clipping the
| | 04:17 | brown inside of that Assyrian layer.
| | 04:20 | Now I am going to return to the
Channels Panel, lift that eye channel right
| | 04:25 | there by Ctrl+Clicking on it or Command
+Clicking on it on the Mac, return to
| | 04:29 | the Layers Panel and dropdown to the
Add Layer Mask icon and Alt+Click or
| | 04:34 | Option+Click on it.
| | 04:36 | That way we're masking away the eye.
| | 04:38 | I am going to press Shift+Alt+C or
Shift+Option+C on the Mac to switch this
| | 04:43 | layer to the Color Mode and that
goes ahead and colorizes this entire guy
| | 04:48 | with the exception of his eye, that's the
only thing that's not getting colorized here.
| | 04:53 | Alright now I want to colorize his hair
using this rainbow layer that I created,
| | 04:58 | using the Gradient Tool of course, and
I'm going to go ahead and click on it to
| | 05:02 | select it and then I'll go up to the
Channels Panel and let's load the hair
| | 05:06 | channel by Ctrl+Clicking on it or Command
+Clicking on it on the Mac, switch back
| | 05:11 | to the Layers Panel, dropdown to the
Add Layer Mask icon and click on it in
| | 05:16 | order to mask that crazy
gradient inside of his hair.
| | 05:20 | Now of course we want to colorize
the image using that layer, so press
| | 05:25 | Shift+Alt+C or Shift+Option+C on the Mac
to once again switch to the Color Mode.
| | 05:29 | So notice how that works by the way.
| | 05:31 | If I turn that layer off, we had
already colorized that area using the layer
| | 05:36 | below, that doesn't matter.
| | 05:38 | You can colorize over-and-over again.
| | 05:40 | You can heap all kinds of color layers
on top of each other because they're all
| | 05:44 | burning through essentially to the
original luminance data and so each layer of
| | 05:48 | color ends up replacing the one below.
| | 05:51 | At this point I felt like the
composition would benefit if his eye was brighter.
| | 05:55 | I start off by going over to the
Channels Panel and loading that eye channel
| | 05:59 | once again by Ctrl+Clicking on it or
Command+Clicking on the Mac and then switch
| | 06:04 | back to the Layers Panel, drop down to
the black/white icon, press the Alt or
| | 06:07 | Option key and click on it and
then choose Brightness/Contrast.
| | 06:13 | I was originally thinking this was
going to work as a dummy layer so I just
| | 06:16 | called it dummy and then clicked OK.
| | 06:18 | I'll go ahead and collapse the
Color Panel for a moment here and expand
| | 06:22 | the Layers Panel and then I changed
this layer to the Screen Mode in order
| | 06:27 | to brighten up that eye, but that didn't end
up giving me the brightness I was looking for.
| | 06:31 | So I went ahead and changed the values
associated with the adjustment itself.
| | 06:35 | I took the Brightness value up to 50
and I took the Contrast value up to 100.
| | 06:40 | So you can add values along with blend
modes to your adjustment layers to create
| | 06:45 | a higher impact effect if you want to.
| | 06:47 | Now I am going to
collapse the Adjustments Panel.
| | 06:50 | Notice that my Layer Mask is still selected.
| | 06:52 | I am going to switch over to the Brush Tool and
then I'll right-click inside the Image Window.
| | 06:56 | Notice my Size is 90 pixels, my Hardness
is 0%, my foreground color is black, so
| | 07:02 | what I am going to do here is paint away
the shading below the eye like so, just
| | 07:07 | along the bottom eyelid and
that's it and that is the final effect.
| | 07:11 | I'll go ahead and press the F
key a couple of times and zoom in.
| | 07:14 | That is one way anyway to colorize a
photograph or a piece of artwork, if you
| | 07:19 | like, using the Color Blend
Mode here inside Photoshop.
| | Collapse this transcript |
| Correcting skin tones with Hue| 00:00 | In this exercise I'll show you how to correct
color modeled skin tones using the Hue Mode.
| | 00:06 | I am working inside of a file
that's called Average hue.tif.
| | 00:09 | It's found inside the 08_component folder.
| | 00:12 | This is a photograph that I shot of my son Max.
| | 00:16 | You can see how his skin tones waver
from oranges and pinks into this sort of
| | 00:21 | yellow region up here, and in this
particular case, it's because the camera
| | 00:26 | misread the actual colors.
| | 00:29 | However, you might run into situations
where you're looking at a person who has
| | 00:33 | modeled skin tones and you want
to correct for them and here's how.
| | 00:37 | First thing you want to do is mask the
subject of your image and in the case of
| | 00:41 | this photo, it's pretty easy.
| | 00:43 | I am going to switch over
to the Channels Panel here.
| | 00:45 | Notice that I've created a mask in
advance, but we are going to create it
| | 00:49 | together using a slightly different
technique than we had in the past.
| | 00:53 | If you take a look at the independent
color channels, you will see that we don't
| | 00:56 | have much contrast going on where Max's
face is concerned, in the Blue channel.
| | 01:00 | We have an awful lot of weirdness going
on in the Green channel, that's part of
| | 01:05 | the reason that we're having the color
modeling in the first place is there is
| | 01:07 | so much variation inside of his face.
| | 01:10 | And then if you switch over to the
Red channel, you'll notice that his face
| | 01:14 | is incredibly bright inside of this channel,
another reason we're having the problem.
| | 01:18 | I am going to go ahead and make a
copy of that Red channel because that is
| | 01:23 | where we have the most contrast and
I'll just go ahead and rename it mask, and
| | 01:27 | then we need to enhance the contrast
of the image, but instead of doing so
| | 01:30 | using the Levels command, I am going to
use Curves instead which will give me a
| | 01:34 | little bit more control.
| | 01:35 | So I am going to choose Image>
Adjustments>Curves or you can press Ctrl+M or
| | 01:40 | Command+M on the Mac in order to
bring up the Curves dialog box.
| | 01:43 | Now if you are working along with me,
you want to click on this double-pointing
| | 01:47 | arrowhead right there to make sure you
can see your Curve Display Options and
| | 01:51 | make sure Show Amount of is set
to Light as opposed to Pigment.
| | 01:55 | Then, go ahead and take that bottom
left point and drag it over to the right
| | 02:01 | until the Input value changes to 64.
| | 02:04 | Now if you miss the mark a little bit,
you can dial-in and input 64 or you can
| | 02:08 | also nudge the point from the keyboard.
| | 02:10 | So I've pressed the Left Arrow key a
couple of times in order to nudge it back to 64.
| | 02:15 | So Output should be 0, Input 64.
| | 02:18 | Then go ahead and click somewhere
along this line in order to set a point.
| | 02:22 | What we are looking for this time around, I am
going to press Shift+Left Arrow a few times here.
| | 02:28 | I'm ultimately looking for the Input
value to be 115 and then the Output value
| | 02:34 | needs to be 140 and by the way we
are talking at luminance levels here.
| | 02:39 | So we are remapping what was formerly
a luminance level of 115 to 1 of 140.
| | 02:44 | So we're brightening the center of that curve.
| | 02:47 | So we are starting off by clipping a ton
of dark colors to black and then we are
| | 02:52 | brightening the mid-tones.
| | 02:54 | Once your curve looks like mine, go ahead
and click OK in order to accept the results.
| | 02:59 | Now we are just getting us Lasso Tool
to more or less encompass Max's face.
| | 03:03 | So I am going to press and hold the
Alt key or the Option key on the Mac and
| | 03:06 | click along here and I am keeping that
Option or Alt key down, so that I can
| | 03:11 | take advantage of the polygonal Lasso Tool
here and I'm going to dip close to his ear.
| | 03:15 | Notice as usual I am not getting right
next to the stuff I want to keep, I am
| | 03:20 | trying to stay inside of this,
sort of black alley here.
| | 03:24 | This area right there underneath his
chin is a little bit of neck showing up and
| | 03:29 | then we have some neck down here toward
the top of the zipper area, so go ahead
| | 03:33 | and select around there and then
finally complete the selection like so.
| | 03:39 | Then, you go up to the Select Menu and
choose the Inverse command so that we're
| | 03:43 | selecting the background instead of his face.
| | 03:45 | My foreground color happens to be black,
so I am going to press Alt+Backspace or
| | 03:48 | Option+Delete on the Mac to fill that
selected region with black, and then press
| | 03:53 | Ctrl+D or Command+D on the
Mac to deselect the image.
| | 03:56 | Now we have managed to mostly
select all the skin details, but we have
| | 03:59 | selected more than that, I've selected into his
teeth for example and into his eyebrows as well.
| | 04:04 | Not a concern.
| | 04:05 | Let's just go ahead and load at this
mask by Ctrl+Clicking or Command+Clicking
| | 04:10 | on it, they are in the Channels Panel.
| | 04:11 | Then I'll switch back to the RGB
image, switch over to the Layers Panel.
| | 04:16 | I am going to convert Max to a Smart
Object and the reason I am doing this is
| | 04:20 | because we're going to be applying this
mask as a Filter Mask in just a moment
| | 04:26 | and we need a Smart Filter to pull that off.
| | 04:28 | So go up to the fly-out menu,
choose Convert to Smart Object.
| | 04:32 | Then we might as well go
ahead and rename this layer Max.
| | 04:35 | I'll go up to the Filter Menu, choose
Blur and choose a command that you've
| | 04:39 | probably never used in your life, it's
Average, and what it does is it finds the
| | 04:44 | one and only average color in the
entire image and it goes ahead and fills the
| | 04:50 | entire image with it, like so.
| | 04:52 | So notice because we had a selection
active, it just went ahead and filled
| | 04:56 | up Max's face, but we've changed
his entire face to this weird sort of
| | 05:01 | brownish gray color.
| | 05:02 | That's exactly it turns out what we want.
| | 05:05 | However, we need to change
the Blend Mode for the Filter.
| | 05:08 | So double click on the Slider icon to
bring up the Blending Options dialog box.
| | 05:13 | Initially, I expected the Color Mode
was going to do the job for me, but
| | 05:17 | notice what happens, we ended up
creating this sort of gray flesh, that's not
| | 05:21 | what we're looking for.
| | 05:22 | I switch to Hue instead which is
the way I suggest you work as well.
| | 05:26 | If Color doesn't give you the desired
results, see if Hue might do you better,
| | 05:30 | and as soon as I chose Hue, notice
that, completely fixes the image.
| | 05:35 | It's amazing, and then I went ahead and
reduced the Opacity value to 70%, click OK.
| | 05:40 | And so just to give you an idea of what
kind of difference is made, this is the
| | 05:44 | original image with all those weird
sort of yellows and pinks competing for
| | 05:48 | attention there and this is the
filtered version of the image.
| | 05:52 | Not only do the flesh tones improved
dramatically, but his teeth remain nice and
| | 05:57 | white because they are low
saturation teeth in the first place.
| | 06:00 | Thanks to the Hue Blend
Mode here inside Photoshop.
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9. The Luminance SlidersUsing the This Layer slider option| 00:00 | In this exercise, I am going to
introduce you to your final blending
| | 00:03 | option inside Photoshop.
| | 00:05 | And these are the luminance exclusion
slider bars, which allow you to either
| | 00:09 | drop away specific ranges of luminance
levels inside the active layer or force
| | 00:14 | the display of luminance
levels from the underlying layers.
| | 00:18 | We are going to use these options in order
to mass this lightning into these clouds.
| | 00:23 | So the lighting actually appears to
be coming out of the clouds, as if it's
| | 00:26 | all one organic image.
| | 00:29 | Now I have two files open, one is
called Big cloud.jpg and the other one is
| | 00:32 | called Lightning.jpg.
| | 00:34 | They are both found
inside the 09_sliders folder.
| | 00:37 | You might look at this lightning and
figure if you were actually given this job,
| | 00:41 | my gosh this is going to be so complicated.
| | 00:43 | We have all these tiny little
tendrils of light coming off here.
| | 00:46 | Actually masking bright lightning
against a dark background is quite easy.
| | 00:51 | All you have to do is go over to the
Channels Panel and find the channel that
| | 00:55 | offers the most contrast, you'd see
that the Red Channel doesn't offer enough,
| | 00:58 | the Blue Channel is kind of a mess,
it's got all kinds of posterization inside
| | 01:02 | of it particularly over
here on the left hand side.
| | 01:04 | The Green Channels probably the best bet.
| | 01:07 | Even though, it's not in great shape either.
| | 01:09 | But we go ahead and grab that green
channel, duplicated by dropping it onto the
| | 01:13 | little page icon there at
the bottom of the panel.
| | 01:15 | Presumably, we would rename this mask
or something along those lines, press
| | 01:19 | Ctrl+L or Command+L to bring up the
Levels dialog box and go ahead and crank up
| | 01:24 | the black slider value to about 90 should do us.
| | 01:28 | And then I take the white slider triangle
down to something like 220 and at that's it.
| | 01:33 | Click OK, we have got ourselves a mask.
| | 01:36 | Then you would Ctrl+Click or Command+
Click on the mask, in order to load it up
| | 01:39 | as a selection outline, switch back
to the RGB image, switch over to Layers
| | 01:44 | Panel, double-click on the Background
Layer and let's go ahead and call this New
| | 01:48 | Layer lightning and then click OK.
| | 01:51 | Just drop-down to the Add Layer mask icon
at the bottom of the Panel and click on it.
| | 01:55 | And now you have managed to mask the lightning.
| | 01:58 | Let's go ahead and copy it over to the
clouds image by right-clicking inside the
| | 02:01 | image window, choosing the Duplicate
Layer command and then I'll go and switch
| | 02:05 | the Document to Big clouds.
| | 02:07 | The layer is already named so we are
good to go, click OK, switch over to that
| | 02:11 | image and we've got ourselves a mass lightning.
| | 02:14 | But couple of different problems, one
is, we've got these sort of dark edges
| | 02:18 | surrounding each one of the bolt of lightning.
| | 02:21 | And the lighting doesn't appear
to be coming out of the clouds.
| | 02:24 | It just appears to be sitting on top of them.
| | 02:27 | By the way, this is taken too much effort.
| | 02:29 | Even though, I went that quickly we
could do this job a lot better with a lot
| | 02:34 | less work without any masking whatsoever,
just by taking advantage of blending.
| | 02:39 | So I'm going to right-click on that Layer Mask
and choose Delete Layer Mask to get rid of it.
| | 02:45 | The first step where blending is
concerned, is to keep the bright stuff drop
| | 02:49 | out the dark stuff, so of course we
are going to switch to a lighten mode and
| | 02:53 | our pre-eminent lighten mode is Screen, and
that's going to work pretty darn well for us.
| | 02:57 | That does a lot of the work right there
by itself, without harming the image or
| | 03:01 | requiring us to generate a mask.
| | 03:03 | However, we can still see an awful
lot of that red background and it's
| | 03:08 | brightening of the clouds as well.
| | 03:10 | So we need to drop out that background.
| | 03:13 | And you do that by bringing up
the Blending Options dialog box.
| | 03:16 | And the easiest way to bring up the
dialog box is just double-click on the
| | 03:20 | thumbnail, in the case of a
pixel-based layer like this one.
| | 03:23 | If you're working with the some other
kind of layer you can double-click any
| | 03:26 | empty portion of the layer over here
on the right-hand side or you could just
| | 03:29 | drop-down to the fx icon
and choose Blending Options.
| | 03:32 | Any of those approaches is going to work.
| | 03:35 | And then notice these sliders down
here at the bottom of the dialog box, they
| | 03:39 | are often called the Blend If sliders.
| | 03:41 | Blend If refers just to this little
blending option right here and I'll show you
| | 03:45 | what's up with that in the future exercise.
| | 03:48 | But the sliders function
independently of that option.
| | 03:52 | They are that This Layer slider
and the Underlying Layer slider.
| | 03:55 | This layer controls which luminance
levels are visible in the active layer,
| | 04:00 | Underlying Layer which should be
called underlying layers plural because it
| | 04:04 | could be a stack of layers piled on top
of each other, controls the display of
| | 04:09 | luminance levels being forced
through from those underlying layers.
| | 04:12 | So we are going to start things off by
dragging this white slider triangle over to the right.
| | 04:18 | And notice what I'm doing here.
| | 04:19 | As soon as I take it over to let say
something like well let's say a 101 that's fine.
| | 04:24 | Any luminance level that's a 101 or
brighter, bearing in mind that 0 is
| | 04:29 | black and 255 is white.
| | 04:30 | Anything with the luminance level of a
101 or brighter, is going to go transparent.
| | 04:35 | So it's a dropping out and anything a
101 or darker, is remaining visible.
| | 04:40 | That's exactly the opposite of the
effect we want of course because we are
| | 04:44 | dropping away the bright stuff the lightning
and we are leaving the dark stuff in its wake.
| | 04:49 | So let's go ahead and reset that guy all
the way back to 255 and instead we will
| | 04:54 | drag the black slider triangle like so.
| | 04:57 | And I'm going to take it
over to let's say 85 for now.
| | 05:01 | And at this point I am saying,
anything that has a luminance level of 85 or
| | 05:04 | darker, drop that out of the active layer.
| | 05:07 | Anything 85 and brighter, keep that visible.
| | 05:11 | Problem is let's go ahead and zoom
in here so you can see, we've got some
| | 05:15 | oftenly jagged transitions.
| | 05:17 | That's because, this is an
on-off proposition so far.
| | 05:19 | Either the pixels are opaque if they are
brighter than 85 or transparent if they are darker.
| | 05:25 | What we need to do here is
introduce some fuzziness that is lend some
| | 05:29 | softness to this transition and if
you take a very close look at the slider
| | 05:33 | triangle's, you will notice that they
are different than what we just saw in
| | 05:36 | the Levels' dialog box.
| | 05:37 | Instead of being solid triangles, they
have a little cleft in the middle of them.
| | 05:41 | And that shows you that they're
actually two triangles fused together.
| | 05:44 | You can pull them apart by pressing the
Alt key or the Option key on a Mac and
| | 05:48 | dragging in our case, the right half
of that slider triangle over to 175 is
| | 05:55 | what I'm looking for.
| | 05:56 | And so now, notice that we have these nice
soft transitions, around the bolt of lightning.
| | 06:01 | And what we were saying just to be
clear about what these values now mean.
| | 06:04 | Anything that has a luminance level
of 85 or darker is going transparent.
| | 06:09 | Anything with a luminance level of 175
or brighter is remaining opaque subject
| | 06:15 | to the Screen Mode of course.
| | 06:16 | And anything in between 85 and 175 is
growing increasingly opaque, so that we
| | 06:23 | can see it more and more over
the span of these luminance levels.
| | 06:27 | And as a result, we get
this nice, soft transition.
| | 06:30 | Alright, I will go ahead click OK in
order to accept that result and that's how
| | 06:35 | you use that this layer
slider, inside of Photoshop.
| | 06:39 | In the next exercise, I will
demonstrate how to work with the underlying layer slider.
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| Using the Underlying Layer slider option| 00:00 | In this exercise, I'll show you how to
force through luminance levels from one
| | 00:04 | or more underlying layers, using
the underlying layer slider bar.
| | 00:08 | I have saved my progress as Clouds &
Lighting.psd, found inside the 09_sliders folder.
| | 00:14 | We are going to revisit the blending
options by double-clicking on an empty
| | 00:17 | portion of this lighting layer.
| | 00:19 | Notice by the way, that everything
we've done so far is a parametric
| | 00:24 | nondestructive modification.
| | 00:26 | In other words, we are using parameters
inside of a dialog box in this case, in
| | 00:31 | order to make our modifications, which means
that we can change our mind anytime we like.
| | 00:36 | I could go ahead and reset every
single thing that I've done so far, just by
| | 00:41 | changing the options here inside the dialog box.
| | 00:44 | However, I don't want to do that of course.
| | 00:46 | So I am going to reinstate the settings that
were here when I first visited the dialog box.
| | 00:50 | By pressing the Alt key or the Option
key and a Mac, that changes a Cancel
| | 00:54 | button to Reset button and then you click on it.
| | 00:57 | And all of our options come back into place.
| | 01:00 | Even though, the lightning
is masked against the clouds.
| | 01:04 | And it's masked better than it
was once with the layer mask.
| | 01:06 | Notice that we have these
nice, soft transitional edges.
| | 01:10 | The lighting still doesn't
appear to be coming out of the clouds.
| | 01:13 | It appears to be sitting on top of the clouds.
| | 01:14 | So what I would like to see happen,
is that the cloud colors up here at the
| | 01:19 | top, force through.
| | 01:21 | If I were to drag the black slider
triangle over to the right, you can see that
| | 01:26 | I would end up masking the
lightning inside the clouds.
| | 01:29 | So I'm forcing through the dark
colors from that Underlying Layer and in my
| | 01:33 | case, I am saying anything with the
luminance level of 124 or darker in the
| | 01:37 | active layer is forcing through.
| | 01:40 | Anything 124 or lighter, is behaving normally.
| | 01:44 | That's the opposite of what I want.
| | 01:46 | So I will go ahead and drag this black
slider triangle back over to the left.
| | 01:50 | And instead, I will take this white slider
triangle over to 160s when I'm looking for.
| | 01:56 | And now, I am saying anything with the
luminance level of 160 or brighter is
| | 02:00 | forcing through and that would be
these colors in the clouds here.
| | 02:03 | Anything 160 or darker is behaving normally.
| | 02:07 | So that we can see, the lightning
covering the darkest portions of the image,
| | 02:11 | which include these dark blues inside the sky.
| | 02:14 | Now of course, we have got ourselves
another on/off proposition that is either
| | 02:17 | the pixels are forcing through or they're not.
| | 02:19 | So we are going to have some jagged transitions.
| | 02:21 | The solution is to press the Alt key
or the Option key and a Mac and drag in
| | 02:26 | this case, the right half of that
white slider triangle until you reach 185.
| | 02:31 | So we are looking for just a
little bit of fuzziness there.
| | 02:35 | And now we are saying anything with a
luminance of 185 or brighter is forcing
| | 02:39 | through, anything 160 or
darker, is behaving normally.
| | 02:43 | And anything between 160 and 185 is
gradually forcing through the lightning layer.
| | 02:50 | Now we're done.
| | 02:51 | I will go ahead and click OK in order
to accept that result and notice, what a
| | 02:55 | wonderful job those two sliders have done.
| | 02:58 | We have got these tiny little tendrils of
lightning that are passing in and out of the clouds.
| | 03:03 | We've got these spot bits of
lightning inside the clouds as well, just
| | 03:07 | beautiful stuff here.
| | 03:09 | And that's exactly the kind of thing
that you can expect from the Luminance
| | 03:12 | Exclusion slider bars, here inside of Photoshop.
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| Achieving greater control with Blend If| 00:00 | In this exercise, I am going to show
you how to work with that Blend If Option,
| | 00:03 | that's located just above the slider bars.
| | 00:06 | What it does is, it allows you to
employ the slider bars based on the contents
| | 00:10 | of specific color channels, which gives
you more control over what you're doing,
| | 00:14 | but it's little hard to wrap
your mind around the results.
| | 00:18 | I will walk you through it here.
| | 00:20 | The idea let's say, is that I'm pretty
happy with what I've been able to achieve
| | 00:25 | here in this file that I'm
now calling Electric storm.psd.
| | 00:29 | However, I can't did get beyond the
fact that we've got these kind of sort of
| | 00:33 | peach colored halos around
each one of the lighting bolts.
| | 00:37 | It's great that they're nice and fuzzy.
| | 00:39 | But why are they peach colored?
| | 00:41 | Except for the fact, they're coming
out of kind of a peachy cloud that just
| | 00:44 | doesn't really make that much sense.
| | 00:46 | What I prefer to do is create a
cleaner effect like this one here, where the
| | 00:51 | lighting bolts are more colored neutral.
| | 00:53 | I can do that with a little bit of
more work, using that Blend If option.
| | 00:58 | But we are going to have to start over to do it.
| | 01:00 | Let's go and return to Electric storm here.
| | 01:02 | I will zoom back out.
| | 01:03 | And I am going to right-click on an
empty portion of the lighting layer and then
| | 01:06 | drop-down to this option
right there, Clear Layer Style.
| | 01:10 | If you choose that, you will clear
away not only any layer effects that are
| | 01:13 | applied, but also any of the blending setting.
| | 01:16 | So I got rid of the screen mode for
example and I also reset those slider bar values.
| | 01:22 | And I am doing this so we can get a sense
of what's going on inside these two images.
| | 01:26 | So I am going to
switchover to the Channels Panel.
| | 01:28 | And you may recall the Red Channel very
bright where this lighting is concerned.
| | 01:32 | The Green channel much darker, but the
green channel also has a lot of flair
| | 01:37 | associated with each one
of the bolts of lightning.
| | 01:39 | If you switch to the Blue channel,
you'll notice that even though it's a
| | 01:43 | pretty clunky channel, it has sharper
contrast where the bolts of lightning are concerned.
| | 01:49 | So that's the channel that we are
going to use to blend the image.
| | 01:52 | Now we are using the contents of that
channel, but we are going to be blending
| | 01:56 | the composite layer.
| | 01:57 | And you will see what
that looks like in a moment.
| | 01:58 | I am going to switch back to the RGB
image, turn off the lighting layer so that
| | 02:02 | we can check out the Background image.
| | 02:04 | We need to get a sense of what's going
on with it as well because after all it
| | 02:08 | is the Underlying Layer.
| | 02:09 | So I am going to switch back to the
Channels Panel and if you take a look at the
| | 02:13 | Blue channel, let's start
with the bottom this time.
| | 02:15 | You will see that we just don't have
much contrast going on here at all.
| | 02:19 | The green channel has a lot better contrast.
| | 02:21 | The Red channel has an incredible
amount of contrast in fact, in fact the cloud
| | 02:26 | is almost entirely white and the
blue behind the cloud is very dark.
| | 02:30 | What we are going to do we are going to
use the Blue channel as our this layer
| | 02:34 | of control and we will use the Red
channel as our Underlying Layer control.
| | 02:39 | So let's switch back to the Layers Panel,
click on the lighting layer to make it
| | 02:42 | active, turn it on, switch the
Blend Mode from Normal to Screen.
| | 02:46 | And then go ahead and double-click on an
empty portion of that layer to bring up
| | 02:50 | the Layer Style dialog box
and then switch to Blend If.
| | 02:53 | So now normally, it's Gray.
| | 02:56 | Meaning, it's not turned on at all.
| | 02:58 | We are not paying attention
to specific color channels.
| | 03:01 | We are just using the Luminance
Exclusion slider bars by themselves.
| | 03:04 | However, if you switch it to a specific
channel for example we want Blue where
| | 03:09 | this layer is concerned, than the slider
bars actually turned that color to show
| | 03:13 | you that you're working from that channel.
| | 03:16 | Again, you are just using the information
in that channel to blend the entire layer.
| | 03:20 | And now, let's go ahead and drop away
the dark colors from that sky, by taking
| | 03:24 | this black slider triangle for This
Layer up to 55 and then press the Alt key
| | 03:30 | or the Option key on a Mac and drag the right-
half of that slider triangle all the way up to 200.
| | 03:38 | And notice, now that we lose that sort
of peach colored fringing, around the
| | 03:42 | bolts of lightning and we
have crisper contrast as well.
| | 03:46 | Now let's switch Blend If from Blue to
Red because after all that's where the
| | 03:51 | underlying cloud is brightest.
| | 03:53 | And now I am going to drag the
white slider triangle for the Underlying
| | 03:57 | Layer slider down to 195.
| | 04:00 | Press the Alt key or the Option key on
a Mac and take the right-half of that
| | 04:04 | white slider up to 230.
| | 04:07 | And notice by the way, that we have a
wider fuzziness range for both Underlying
| | 04:11 | Layer and for that This Layer slider,
that's associated with the blue channel.
| | 04:17 | Thanks to the fact that we were
working from a single channel of information.
| | 04:21 | And so what that means is two things.
| | 04:23 | First of all we have better control;
| | 04:25 | secondly we get better results,
smoother result because we have that wider
| | 04:30 | fuzziness range to work with.
| | 04:31 | Now I will go ahead and click OK
in order to accept that result.
| | 04:35 | Press the F key a couple of times in
order to fill the screen with the image and
| | 04:38 | go ahead and zoom on in and that is
the final effect with these nice, clean,
| | 04:43 | sharp tendrils of lightning,
coming out of this cloud.
| | 04:47 | Thanks to the power of the Luminance
Exclusion slider bars and the Blend If
| | 04:51 | option, that gives you channel by
channel control, here inside Photoshop.
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ConclusionNext steps| 00:00 | With any luck, you now have a firm
grasp on how blending works in Photoshop.
| | 00:05 | And in particular, you have a sense
for what blending option to use when, as
| | 00:10 | oppose to randomly selecting hard mix and
thinking what, why would I use that? Now you know.
| | 00:18 | And please remember that this course is
part of a larger and ever expanding series.
| | 00:23 | It all starts with my
essentials course, "Photoshop Masking &
| | 00:27 | Compositing Fundamentals".
| | 00:29 | From there, you can branch
out any direction you like.
| | 00:33 | Keep an eye out for courses on
Masking Hair, Drawing Precise Selection with
| | 00:38 | a Pen Tool and more.
| | 00:40 | In the mean time, on behalf of lynda.
com, this is Deke McClelland saying,
| | 00:46 | See YA!
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